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As it recurred again and again, it set me thinking of what my architect's books say about the custom in early times to consecrate the choir as soon as it was built, and that the nave, being finished sometimes half a century later, often did not get any blessing at all: I wondered idly if that had been the case at St. Barnabe, and whether something not usually supposed to be at home in a Christian church, might have entered undetected, and taken possession of the west gallery. I had read of such things happening too, but not in works on architecture. ("In The Court Of The Dragon") ↗
In America access is always about architecture and never about human beings. Among Israelis and Palestinians, access was rarely about anything but people. While in the U.S. a wheelchair stands out as an explicitly separate experience from the mainstream, in the Israel and Arab worlds it is just another thing that can go wrong in a place where things go wrong all the time. ↗
(Cedric Price produced the Potteries Thinkbelt) ...project which questioned most of the cherished establishment premises of university education and substituted in their place their complete inversion. ↗
Finding a taxi, she felt like a child pressing her nose to the window of a candy store as she watched the changing vista pass by while the twilight descended and the capital became bathed in a translucent misty lavender glow. Entering the city from that airport was truly unique. Charles de Gaulle, built nineteen miles north of the bustling metropolis, ensured that the final point of destination was veiled from the eyes of the traveller as they descended. No doubt, the officials scrupulously planned the airport’s location to prevent the incessant air traffic and roaring engines from visibly or audibly polluting the ambience of their beloved capital, and apparently, they succeeded. If one flew over during the summer months, the visitor would be visibly presented with beautifully managed quilt-like fields of alternating gold and green appearing as though they were tilled and clipped with the mathematical precision of a slide rule. The countryside was dotted with quaint villages and towns that were obviously under meticulous planning control. When the aircraft began to descend, this prevailing sense of exactitude and order made the visitor long for an aerial view of the capital city and its famous wonders, hoping they could see as many landmarks as they could before they touched ground, as was the usual case with other major international airports, but from this point of entry, one was denied a glimpse of the city below. Green fields, villages, more fields, the ground grew closer and closer, a runway appeared, a slight bump or two was felt as the craft landed, and they were surrounded by the steel and glass buildings of the airport. Slightly disappointed with this mysterious game of hide-and-seek, the voyager must continue on and collect their baggage, consoled by the reflection that they will see the metropolis as they make their way into town. For those travelling by road, the concrete motorway with its blue road signs, the underpasses and the typical traffic-logged hubbub of industrial areas were the first landmarks to greet the eye, without a doubt, it was a disheartening first impression. Then, the real introduction began. Quietly, and almost imperceptibly, the modern confusion of steel and asphalt was effaced little by little as the exquisite timelessness of Parisian heritage architecture was gradually unveiled. Popping up like mushrooms were cream sandstone edifices filigreed with curled, swirling carvings, gently sloping mansard roofs, elegant ironwork lanterns and wood doors that charmed the eye, until finally, the traveller was completely submerged in the glory of the Second Empire ala Baron Haussmann’s master plan of city design, the iconic grand mansions, tree-lined boulevards and avenues, the quaint gardens, the majestic churches with their towers and spires, the shops and cafés with their colourful awnings, all crowded and nestled together like jewels encrusted on a gold setting. ↗
Parks, plazas, gardens, and rooftops are culture-producing places, not merely place for retreat. Sidewalks and bridges become ends in themselves instead of just a means of getting from one place to another. ↗
Sustainability is now a big baggy sack in which people throw all kinds of old ideas, hot air and dodgy activities in order to be able to greenwash their products and feel good. ↗
In merging nature and culture the most successful cities combine such universal needs as maintaining or restoring contact with the cycles of nature, with specific, local characteristics. ↗
#design #parks #urban #architecture
For example, they recently had a piece on a character--I think his name was Ambrosio D'Urbervilles--whose "design statement" was to stuff an entire apartment from floor to ceiling with dark purple cottonballs. He called it "Portrait of a Dead Camel Dancing on the Roof of a Steambath. ↗
The discovery that detonated Cleveland is one of Britain’s great contributions to awareness of child abuse. In 1986 and 1987 the Leeds paediatricians Dr Jane Wynne and Dr Christopher Hobbs reported in the Lancetthat they were seeing more children who were being buggered than battered. About 300 cases were corroborated. The children were young – two-thirds were pre-school children – and anal abuse was more common than vaginal penetration. They also noted that ‘boys and girls seem to be at similar risk’. Almost half of the children who suffered anal abuse also showed a sign written up in the forensic textbooks as ‘anal dilation’, an anus opening when it was supposed to stay shut; opening and expecting entry. What the paediatricians were observing was not an acute sign, the effect of a single intrusion – a spasm or seizure – but a sign that was telling a story about everyday life; the anatomy of adaption. Anal dilation seemed to describe the architecture of abuse: it allowed the body to receive an incoming object, regularly. ↗
