Danh ngôn thuộc danh mục: architecture

Even though I build buildings and I pursue my architecture, I pursue it as an artist. I deliberately keep a tiny studio. I don't want to be an architectural firm. I want to remain an artist.

Art is very tricky because it's what you do for yourself. It's much harder for me to make those works than the monuments or the architecture.

When I graduated from high school, I thought I wanted to make science fiction movies, so I applied to film school, but I couldn't get in. A professor told me I should try architecture instead.

The beauty of architecture is it involves work that stretches over a very long time but often starts in one instant, with just one emotion, a kind of instinctual response.

In the past, young, talented architects worked together to form a strong social agenda and communicate with a larger audience. That's what today's architecture community should be.

A shan-shui city is a modern city, a high-density urban situation, but we pay more attention to the environment. We bring waterfalls; we bring in a lot of trees and gardens. We treat architecture as a landscape.

The shan-shui city idea is trying to bring traditional values and ways of living to modern high-rise architecture.

Although we're architects, we believe we do culture; architecture is culture, and the topics we tackle will always arise a broader debate.

Chaoyang Park Plaza is about how to carry the traditional culture into a new format in modern architecture. Instead of building a boundary between the city and the park, I tried to design this building to emerge from the natural landscape.

In China, it's very easy to make architecture special because anything you design will look different, as most parts of the city are very similar. They make so many massive residential buildings.

When I started university, I didn't know much about architecture, so I flipped through a lot of magazines, looking at different and exciting images from all over the world. I thought that architecture could be interesting.

Ultimately, the artistic part of architecture has always interested me.

Early in my career, I tried to bring an artistic feeling to architecture. That's really the intent and impression of what I think about: context, space, shapes, and landscape.

What if we treat the high-rise like a mountain, or we have gardens in the sky, or waterfalls? I think that's the most challenging thing I want to try in my architecture.

I'm trying to create architecture as landscape. But I'm not copying nature.

A pool at the edge of the ocean is the simplest geometry, yet you feel connected to the sea. In a forest with the mountains in the background, you also feel the connection to nature, yet it's a very complex geometry. I think architecture is about controlling these feelings.

Since the Beijing Olympics in 2008, our office has been discussing how we can make architecture more human and at one with nature. We need to ask ourselves, what legacy do we want to leave behind on humankind's urban culture?

Architecture is about experience: not only visual but also what you can touch, what you can feel.

The way we do our architecture is to show that we can come up with our own solutions. We don't just take orders.

I think architecture should be a stage, not something too material - more of an environment, not a product.

When I was young and used to look at Chinese architecture, there was no clear definition between what was landscaping and what was architecture.

Oscar Niemeyer really inspired me. He's from South America, where nature has meaning. And his architecture was not expensive or high tech but artistic and spiritual. I like that.

The architecture scene in China is the most open and free climate compared to many other places. You can find many opportunities.

Architecture is a special kind of career that showcases the accumulations of culture, time, and history.

As architects we are often involved in the concrete-steel-and-glass aspect of it, but cities are social structures, and to be involved in imagining the future of cities and the type of relationships and the types of places that we're making is something that intrigues me very much.

No architect troubled to design houses that suited people who were to live in them, because that would have meant building a whole range of different houses. It was far cheaper and, above all, timesaving to make them identical.

I don't believe in morality in architecture.

I have no requirements for a style of architecture.

I see architecture not as Gropius did, as a moral venture, as truth, but as invention, in the same way that poetry or music or painting is invention.

In any architecture, there is an equity between the pragmatic function and the symbolic function.

The dialogue of architecture has been centered too long around the idea of truth.

For my first apartment, when I was first married, I went to the lumberyard and bought stuff and made couches. My then-wife made cushions. I was really very interested in furniture. I was in school for architecture, but I had to live, and making furniture was different from designing buildings, which I couldn't do for myself.

I'm working on a school of architecture in China. It's rare that an architect gets to design a school of architecture, and here I get to do it. I'm so pleased that they asked me.

I taught at Princeton for 39 years, and the school of architecture on the campus is the worst building on the campus.

You can never draw enough or read enough - reading about architecture, in other words.

Instead of using the machine as a metaphor for architecture, as Le Corbusier did, I use the human body. I want the public to know that it's them I'm designing for.

The oldest book I have is a treatise on architecture from the 17th century.

If architecture is, as is sometimes said, music set in concrete, then football and basketball may be said to be creativity embodied in team sports.

Both Republicans and Democrats championed a structure that allowed the 'application layer' of Internet architecture to be free from government intervention, apart from occasional Federal Trade Commission activity.

But those musics do not address the larger kind of architecture in time that classical music does, whatever each one of us knows that classical music must mean.

When you go to a normal architecture firm they aren't going to be innovative in terms of their systems. They're not going to be thinking of the whole lifespan of this project, or how do we document every single light bulb, or every product, so that when a chair breaks in a conference room, we can replace it right away.

The greatest advances of civilization, whether in architecture or painting, in science and literature, in industry or agriculture, have never come from centralized government.

So what we have tried to do in our later buildings is to try to be completely consistent, as a painter is consistent or as a sculptor is consistent. Architecture also must be very consistent.

If you examine this, I think that you will find that it's the mechanics of Japanese architecture that have been thought of as the direct influence upon our architecture.

We build buildings which are terribly restless. And buildings don't go anywhere. They shouldn't be restless.

In effect, the Internet is a global connection of interconnected computers. It has been described as truly a peer-to-peer system with many distributed nodes and no central point of control architecture.

Architecture is politics.

If you're inclined to dismiss L.A. as a place of unrelenting vapidity and generic 1980s architecture, then you're doing yourself and L.A. a huge disservice, and you're just not looking hard enough.

Architecture is changing faster than some other professions.

There is a profound ethic to architecture which is different from the other arts.