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Danh ngôn của Martin Filler (Sứ mệnh: 2)

Snohetta promotes a more democratic workplace atmosphere than most other architectural offices. This may merely reflect prevalent employment practices in Scandinavia, but Snohetta places a stronger emphasis on group participation in the design process than typical high-style firms.
When Oscar Niemeyer died on December 5, 2012, ten days before his 105th birthday, he was universally regarded as the very last of the twentieth century's major architectural masters, an astonishing survivor whose most famous accomplishment, Brasilia, was the climactic episode of utopian High Modern urbanism.
Considering my specialization in architecture, I'm not surprised that the first graphic novel to thoroughly engage, not to say captivate, me is Chip Kidd and Dave Taylor's 'Batman: Death by Design.'
Before the professionalization of architecture in the nineteenth century, it was standard for an aspiring mason or carpenter to begin his apprenticeship at fourteen and to become a master builder by his early twenties.
Architecture is not a profession for the faint-hearted, the weak-willed, or the short-lived.
There is no sadder tale in the annals of architecture than the virtual disappearance of the defining architectural form of the Modern Movement - publicly sponsored housing.
Few developments central to the history of art have been so misrepresented or misunderstood as the brief, brave, glorious, doomed life of the Bauhaus - the epochally influential German art, architecture, crafts, and design school that was founded in Goethe's sleepy hometown of Weimar in 1919.
From the outset, MoMA followed the Bauhaus's strict prohibition against design that even hinted at the decorative, a prejudice that skewed the pioneering museum's view of Modernism for decades.
The popular mythology of creative genius depends on beloved stereotypes of the artist in youth and old age: the misunderstood upstart who forces us to see the world afresh; and the revered sage who shows us depths of insight attainable only through a lifetime of hard-won experience.
One of the most persistent yet elusive dreams of the Modern Movement in architecture has been prefabrication: industrially made structures that can be assembled at a building site.
Truly great architecture always transcends its stated function, sometimes in unanticipated ways.
By 1970, the first stirrings of the revolt against Modernist orthodoxy in architecture had been felt, although it would be several years more until Postmodernism was widely accepted and made classical motifs permissible in high-style building design for the first time in decades.
Cost overruns are not uncommon in architecture, particularly for designs that depart from structural or technological norms, or demand a finer quality of execution than commercial schemes - conditions typical of buildings for cultural institutions. Budgets are exceeded for many reasons, not all of them within an architect's control.
All architecture, classical or not, must have some sense of order, and order is much harder to achieve without the straight lines and right angles that have dominated the building art from time immemorial.
Always beware an unsigned architectural design.
The truth be told, the World Trade Center was neither a very good work of architecture nor a very successful piece of urbanism. Its shortcomings were somewhat mitigated by the westward and southward expansion of the World Financial Center and Battery Park City during the 1980s.
One of the stated goals of the postmodern movement in architecture was a greater sensitivity to the people who live in or use newly designed buildings.
Architecture was the last of the major professions to devise a formal 'cursus honorum' before its practice could be undertaken.
Any set of decisions about design is inevitably influenced by cultural prejudice, no matter how intent an architect might be to avoid it.
The tall building, concentrating man in one place more densely than ever before, similarly concentrates the dilemma of our public architecture at the end of the twentieth century: whether the new forms made possible by technology are doomed by the low calculations of modern patrons and their architects.