A Quote by Christian de Portzamparc

In the '60s when I was a student, there was this campaign to destroy 75 percent of the old buildings in Paris, replacing them with modern architecture. I realized this as a dangerous utopia. This modern vision did not understand the richness of the city. Thankfully, such destruction did not happen.
It's modern day. It is modern day. Some of the cars are older but it is absolutely modern day. There are modern cars in it, modern people, modern clothes, modern talk. We wrote 'Valentine' to sort of pay tribute to all the old slasher movies that we grew up with and I think that we did that.
After World War II great strides were made in modern Japanese architecture, not only in advanced technology, allowing earthquake resistant tall buildings, but expressing and infusing characteristics of traditional Japanese architecture in modern buildings.
My high school had been a renovated old hospital, so when I first came to the UCLA campus in the spring of 1965, I was immediately impressed by the classic northern Italian architecture that was mixed with futuristic ultra-modern buildings. The classic architecture gave it the heft of old wisdom while the modernistic look inspired hope for the future.
I did Call of Duty Modern Warfare as Gaz, then I did Ghost in Modern Warfare 2, which has become one of the most iconic figures in the history of computer games.
I did 'Call of Duty Modern Warfare' as Gaz, then I did Ghost in 'Modern Warfare 2,' which has become one of the most iconic figures in the history of computer games.
The student is half afraid to meet one of the great philosophers face to face. He feels himself inadequate and thinks he will not understand him. But if he only knew, the great man, just because of his greatness, is much more intelligible than his modern commentator. The simplest student will be able to understand, if not all, yet a very great deal of what Plato said; but hardly anyone can understand some modern books on Platonism.
Modern buildings of our time are so huge that one must group them. Often the space between these buildings is as important as the buildings themselves.
I graduated from Wesleyan University with a B.A. in art. I was really headed toward an architecture degree, but when I did the requirements for the major, I realized I was more interested in how people live in buildings than in making buildings. I was more interested in the interactions that happened inside the structures.
When I started studying architecture, people would say, you know, 'Can you tell me why are all modern buildings so boring?' Because, like, people had this idea that in the good old days, architecture had, like, ornament and little towers and spires and gargoyles, and today, it just becomes very practical.
Bath was dusty and a little shabby when we moved here. It did look its age and you felt its history in its streets and buildings and little alleyways. The sense of the past was palpable. There were some bad modern buildings but there was a patina of age.
To sum up the state of architecture in America: ninety percent of the buildings we live in and around aren't architecture. No, that's not right - 98 percent.
I grew up in Beijing, and there weren't many modern buildings during my childhood. I was influenced by traditional culture - the courtyards, the hutongs, the old city, and all the art forms - so, very naturally, I brought this to my practice.
I graduated from Wesleyan University with a b.a. in art. I was really headed toward an architecture degree, but when I did the requirements for the major, I realized I was more interested in how people live in buildings than in making buildings. I was more interested in the interactions that happened inside the structures. So I got an art degree as a default position.
What did it mean, the first time, a thinking creature looked deeply into another's eyes? Did it take a hundred thousand years before this happened or it was the first thing they did, transcendingly, the thing that made them higher, made them modern, the gaze that demonstrates we are lonely in our souls?
What 'Strong Island' does is bring a historical perspective and help people understand that what we're treating as a modern-day phenomenon is actually not modern. It's actually quite old.
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.
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