A Quote by Antoine Predock
I like to think about machines and technology in relation to landscape and architecture.
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I embrace technology and I just think that in 1984 when James Cameron wrote about the technology, everyone thought he was totally way out there and it was science fiction. Now it's almost reality what he talked about. The machines have taken over, except they have not become self-aware, like in Terminator. So this is really one thing that we have to watch out for, but I think technology is good.
Architecture is a technology. And it's involved in all of the different networks of systems that produce architecture - including politics, economics, social and cultural conditions. So architecture is already in technology.
By the time of the Singularity, there won't be a distinction between humans and technology. This is not because humans will have become what we think of as machines today, but rather machines will have progressed to be like humans and beyond. Technology will be the metaphorical opposable thumb that enables our next step in evolution.
I think it is widely agreed that Carl Steinitz, over the 50 years he taught at Harvard, has been one of the most important figures in influencing the theory and practice of landscape architecture and the application of computer technology to planning.
I was always interested in technology. When personal computers came out, I was one of the first to pick one up and begin playing with it. My hobbies tend to be not about going fishing or hiking, but about playing on machines. Just like some people like helicopters and tanks and cars, I like technology a lot.
When ATM machines came out and people were prosecuted for robbing ATM machines, I don't think anybody thought the banks were against technology because they didn't want their ATM machines lifted.
Architecture is art. I don't think you should say that too much, but it is art. I mean, architecture is many, many things. Architecture is science, is technology, is geography, is typography, is anthropology, is sociology, is art, is history. You know all this comes together. Architecture is a kind of bouillabaisse, an incredible bouillabaisse. And, by the way, architecture is also a very polluted art in the sense that it's polluted by life, and by the complexity of things.
It is good to learn from the ancients. I'm a bit of an ancient myself. They had a lot of time to think about architecture and landscape.
I'd like people to be educated on the voting machines, making sure that our democracy isn't being hijacked by computer technology. There's no reason there can't be a paper trail on those machines.
I think one of the primary goals of a feminist landscape architecture would be to work toward a public landscape in which we can roam the streets at midnight, in which every square is available for Virginia Woolf to make up her novels
The reality of our century is technology: the invention, construction and maintenance of machines. To be a user of machines is to be of the spirit of this century. Machines have replaced the transcendental spiritualism of past eras.
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.
Life is the ultimate technology. Machine technology is a temporary surrogate for life technology. As we improve our machines they will become more organic, more biological, more like life, because life is the best technology for living.
The truly monumental can only come about by means of the most exact and refined relation between parts. Since each thing carries both a meaning of its own and an associated meaning in relation to something else - its essential value is relative. We speak of the mood we experience when looking at a landscape. This mood results from the relation of certain things rather than from their separate actualities. This is because objects do not in themselves possess the total effect they give when interrelated.
The strengths landscape architecture draws from its garden design heritage include: the Vitruvian design tradition of balancing utility, firmness and beauty; use of the word 'landscape' to mean 'a good place' - as the objective of the design process; a comprehensive approach to open space planning involving city parks, greenways and nature outside towns; a planning theory about the contextualisation of development projects; the principle that development plans should be adapted to their landscape context.
I've always been interested in the idea of the artificial landscape. Reforming the landscape. Architecture being a method of reforming the earth's surface.
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