Danh ngôn thuộc danh mục: architecture

I live in a craftsman house, but I'm a big fan of modernist and mid-century furniture and architecture, too. But my dream is to do a truly original chair design, something that is all these different things but is my own, too.

Sand dunes are almost like ready-made buildings in a way. All we need to do is solidify the parts that we need to be solid, and then excavate the sand, and we have our architecture. We can either excavate it by hand, or we can have the wind excavate it for us.

I started off in journalism 16 years ago in Stockholm, and I wrote for a few different publications for many years. I've also worked in advertising as a copywriter and creative director, but I changed it for architecture at 25 years old.

In a way, architecture is about communication. That's an aspect of the discipline that is somewhat lacking, and there's definitely room for more progression into that area. I suppose that gives me a bit of a different edge. I'm also very, very used to doing a lot of exhaustive research and finding interesting information from different sources.

Doctrines provide an architecture for both Republican and Democrat presidents to carry out policies.

Jaipur is the capital of Rajasthan and, in my opinion, the best place to visit. It is an amazing hub of history. It's called the Pink City because all the architecture has a hint of pink in the stones used. It's an amazing stop for all kinds of food but also for history and shopping. It has a little bit of everything.

One summer, when I was on break from architecture school in Tijuana, my aunt gave me a summer job cleaning up and peeling garlic, and I got to see her in her element. She was so passionate and such a good teacher, I decided to quit architecture school and go to culinary school in Los Angeles.

My mom and dad had a store, and sometimes people would return broken stuff. I'd take it apart and reassemble it. At 16, I really understood the architecture of things.

I think in America there's this free flow between fashion, art, architecture, music and design. In Europe, it's more segregated between those different disciplines, I think.

I've spent a lot of very happy times in Edinburgh as a result of playing virtually every festival since 1996. It's also a beautiful city in its own right, is walkable, within sight of the sea and mountains - and was too far north for the Luftwaffe to have done any damage, hence the spectacularly beautiful architecture.

The architecture in Barcelona is very unique, and I think it's something to truly spend some time getting to know all the cool places.

People kind of tend to mystify design and architecture by suggesting you need to train.

Of the individual poems, some are more lyric and some are more descriptive or narrative. Each poem is fixed in a moment. All those moments written or read together take on the movement and architecture of a narrative.

The Academy of Architecture in Mendrisio comes from afar. Our land has a millennial history of emigrations: master masons, architects, builders, decorators, plasterers, artists from the world of building.

In 1996, I took advantage of some favourable circumstances to propose to the state of the Ticino Canton the foundation of the Academy of Architecture and, with it, an Italian-speaking university in Switzerland.

To me it was fascinating, the idea of going to university and studying a subject - architecture - that I had already faced in building some small houses.

Great architecture of the past was always clear. SFMOMA is still a simple building to understand.

Buildings in modern cities have lost their metaphoric aspect. Much contemporary architecture is very fragmented and busy on the outside. It's like a skin or a skull, but you don't know what's inside.

For me, architecture is not just creating a space to protect people but to make them dream as well.

Church architecture describes visually the idea of the sacred, which is a fundamental need of man.

The architecture for 'Paladin' - given that it's at least three books, with the possibility of more - turned out to be bigger than anything I've ever created, with multiple levels of reality, interlocking mysteries and a terabyte of time frame.

Chroniclers of the role of paper in history are given to extravagant pronouncements: Architecture would not have been possible without paper. Without paper, there would have been no Renaissance. If there had been no paper, the Industrial Revolution would not have been possible. None of these statements is true.

To me, a building - if it's beautiful - is the love of one man, he's made it out of his love for space, materials, things like that.

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.

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.

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.

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.

Writing about music is like dancing about architecture.

At a certain point, I just put the building and the art impulse together. I decided that building was a legitimate way to make sculpture.

As the OLPC laptop was getting ready to go into mass production in 2007, many executives approached me wanting the screen that I invented, and the laptop architecture that I co-invented, for their new laptops, cell phones, and other devices.

I love art in general - architecture, anything creative.

The impact of the creative industries, of design and architecture in particular, are of course economic and they are a great export opportunity.

My first venture to Qatar was with WWE. It was an incredible tour and we stayed at a luxurious hotel. I ventured out by myself and wandered down to a shopping center and there was beautiful architecture everywhere.

I practised as an architect for 10 years. I qualified in 1973 with a fellowship diploma of architecture. World Series Cricket gave me the freedom to go out and pursue architecture.

About 1998, when 'Wide World of Sports' and the 'Footy Show' came to an end for me, I couldn't type. When I started architecture, it was a very aesthetic, creative, an almost art process, where lettering and thick line were how you expressed yourself on the paper.

I probably spent the first 20 years of my life wanting to be as American as possible. Through my 20s, and into my 30s, I began to become aware of how so much of my art and architecture has a decidedly Eastern character.

I left science, then I went into art, but I approach things very analytically. I choose to pursue both art and architecture as completely separate fields rather than merging them.

The process I go through in the art and the architecture, I actually want it to be almost childlike. Sometimes I think it's magical.

In art or architecture your project is only done when you say it's done. If you want to rip it apart at the eleventh hour and start all over again, you never finish. I was one of those crazy creatures.

I loved logic, math, computer programming. I loved systems and logic approaches. And so I just figured architecture is this perfect combination.