A Quote by Curtis W. Fentress
A bold architectural statement turns a public building into a landmark, but it is in the details where the architect becomes the real storyteller.
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The Crystal Cathedral is not an attempt to be an architectural ego-statement. It's probably the ultimate spiritual and psychological statement that could be made in architectural terms.
The skyscraper and the twentieth century are synonymous; the tall building is the landmark of our age. ... Shaper of cities and fortunes, it is the dream, past and present, acknowledged or unacknowledged, of almost every architect.
A building does not have to be an important work of architecture to become a first-rate landmark. Landmarks are not created by architects. They are fashioned by those who encounter them after they are built. The essential feature of a landmark is not its design, but the place it holds in a city's memory. Compared to the place it occupies in social history, a landmark's artistic qualities are incidental.
People say I design architectural icons. If I design a building and it becomes an icon, that's ok.
Because it is a national landmark, there is only one way to judge the Kennedy Center - against the established standard of progressive and innovative excellence in architectural design that this country is known and admired for internationally. Unfortunately, the Kennedy Center not only does not achieve this standard of innovative excellence; it also did not seek it. The architect opted for something ambiguously called 'timelessness' and produced meaninglessness. It is to the Washington manner born. Too bad, since there is so much of it.
For an architect's son, I am remarkably unformed in my architectural tastes.
I studied to be an architect. And I find tremendous similarities between building a company and the design process. Businesses have to do their planning on the fly in a fashion similar to an architect sketching.
The architect is not only the director, but he is the composer. And, as a composer, the architect brings a sense of creativity to each building.
Being a painter myself... whenever I could dispense with architectural precision, I indulged in the picturesque, in which case I sacrificed a few details when necessary in favor of an imposing effect that would give a monument its real character and also preserve the poetic charm that surrounds it.
What each school offers is something unique. But, there are two types of activity an architect must be educated on. First, the architect needs concentrated activities to learn the guidelines, and that is what school is for. But, second, is the public aspect of education. The architect needs to see architecture in the streets to learn.
Edelman diversified into public affairs in the late '60s with important programs for the Concorde SST, gaining landing rights at JFK Airport in New York, and in the late '70s generating public approval for the building of the very stark Vietnam Veterans War Memorial in Washington, D.C., from a design by the very young architect Maya Lin.
Cory Doctorow is a fast and furious storyteller who gets all the details of alternate reality gaming right, while offering a startling, new vision of how these games might play out in the high-stakes context of a terrorist attack. Little Brother is a brilliant novel with a bold argument: hackers and gamers might just be our country's best hope for the future.
The Besicovitch style is architectural. He builds out of simply elements a delicate and complicated architectural structure, usually with a hierarchical plan, and then, when the building is finished, the completed structure leads by simple arguments to an unexpected conclusion. Every Besicovitch proof is a work of art, as carefully constructed as a Bach fugue.
Secretary Clinton, right from day one, wants to do real investment in public works and infrastructure, building highways and bridges, building airports, to doing what we need to do that way which lifts the economy up, undoubtedly.
A mission statement is not something you write overnight... But fundamentally, your mission statement becomes your constitution, the solid expression of your vision and values. It becomes the criterion by which you measure everything else in your life.
The debut show, “Second Lives: Remixing the Ordinary,” is supposed to be about how artists reuse humble or unusual materials. There’s good work here, but much of what’s on view is actually more about obsession and repetition: a couch made out of 3,500 quarters, a necklace composed of 100 handgun triggers. The building, too, seems caught between wanting to be an object of decorative delectation and making an architectural statement.
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