A Quote by Peter Zumthor
I work a little bit like a sculptor. When I start, my first idea for a building is with the material. I believe architecture is about that. It's not about paper, it's not about forms. It's about space and material.
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When I start, my first idea for a building is with the material. I believe architecture is about that. It's not about paper, it's not about forms. It's about space and material.
I've consciously taken on material that's a bit too much for me but not an overreach. The first movie, just about performances. 'The Town,' I learned how to work broader material, develop tension, direct bigger scenes, action sequences. 'Argo,' I experimented with film stock, widened the scope of my geography.
Architecture is not about building the impossible, which we can do if we have enough money and enough tools and enough computers. It is about building what is appropriate and about attaining beauty through such an approach. I describe this premise as 'inherent buildability', and I believe it is central to what I do.
Our culture is hung up on and overemphasises what can be derived from material objects. I think this is something quite new, over the past 200 or 300 years - that life has become about accumulating material wealth. The 21st century is not about accumulating material wealth like the 20th century. It's already eroding.
When you're at the beginning of your career, there are a lot of, "I don't care about this," jobs that you take because it's about building your resume and building connections. There are so many factors that don't have anything to do with choosing for the material.
The reasons you have for doing a movie will vary with the way your life is going. There was a time when a made a some movies because I felt I needed to work. And I didn't think about the material as much. But sometimes I've thought about the material a lot and thought I was doing the right thing, and it didn't work out.
Everyone has material about cats, and everyone has material about family and what they think about their government or childhood.
Nine out of nine architects start with a sketch, and then they say, 'What should we make it out of?' I start from the bottom up - what should it be made out of - and then I worry about what should it look like. The material, the color of the material, the way it feels, and the way you respond to it is every bit as valid as the form or the shape.
My writing is of a very different kind from anything I've heard about. All this mythological material is out there, a big gathering of stuff, and I have been reading it for some forty- or fifty-odd years. There are various ways of handling that. The most common is to put the material together and publish a scholarly book about it. But when I'm writing, I try to get a sense of an experiential relationship to the material. In fact, I can't write unless that happens ... I don't write unless the stuff is really working on me, and my selection of material depends on what works.
Industrialization of the building trade is a question of material. Hence the demand for a new building material is the first prerequisite.
For me, in general, it's always about the material. Obviously, it's about the material and hoping that someone wants to hire me for a job, too, but I've certainly seen films like 'Orphan' and movies like that where I know that if I had had the opportunity to read that script or had an opportunity to do it, I would have wanted to do it.
Let's talk about the artist's desire to go beyond the pictorial or the representational and the desire to create the abstract - the idea that painting can go beyond what is seen. What we found is that, increasingly, painting became about paint, its own material truth. When I'm talking about the way that we look at others and the way that we see ourselves increasingly, looking at others becomes its own material truth.
Undisputed ends when I return to the WWE in 2007. There is already 3 ½ years of material including the 3 best years of my career. Undisputed is going to do even better than A Lion's Tale, there is no reason to not do #3. The material I have for #3 is just as good as the first 2. I still have a few years to go before I write but I would definitely like to write another one. But it is not about the numbers, it is about the quality. If I don't think it would be as good, I won't do it
My father's book is about is about a number of things, but about Houdini's rage to not be a failure like his father, and it's also about converting X-rated material, namely bondage, into family friendly safe fare, which is what he did. It's also about death and resurrection, and rising to live again another day when everyone thinks you're dead.
Architecture is about aging well, about precision and authenticity. There is much more to the success of a building than what you can see. I'm not suggesting that gestural architecture is always superficial, but solid reasoning has its place.
My dad, he's definitely one of greatest writers of his generation. There is no question about it. When you are that good, when work is that good, you have to appreciate every aspect of it. It's the architecture of it, it's like looking at a Frank Lloyd Wright building or a Lautner building, it's master craftsmanship. Every aspect of it intertwines in a perfectly harmonious way. That's what architecture is at its best and the architecture of my father's music is on that level.
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