A Quote by David Adjaye
In some conditions, the architecture of textile is more relevant than in other conditions or the opacity of the material form. Pattern in the world of scarce materiality and a hybridity becomes a way of creating a new authenticity. Sometimes there is a certain kind of nobility of a group of materials literally of the earth, which had a certain nobility of presence, but is very different from the materials we have now.
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The popular and scientific views of "race" no longer coincide. The word "race," as applied scientifically to human groupings, has lost any sharpness of meaning. To-day it is hardly definable in scientific terms, except as an abstract concept which may, under certain conditions, very different from those now prevalent, have been realized approximately in the past and might, under certain other but equally different conditions, be realized in the distant future.
Confusion conditions activity, which conditions consciousness, which conditions embodied personality, which conditions sensory experiences, which conditions impact, which conditions mood, which conditions craving, which conditions clinging, which conditions becoming, which conditions birth, which conditions aging and death.
Modern architecture does not mean the use of immature new materials; the main thing is to refine materials in a more human direction.
For a sculptor, a painter, a weaver, a potter, the dialogue between one's materials and what one makes from them is easy to see: discover a new material or a new way to use a familiar one, and new things can be made, sometimes leading to the discovery of more new material, leading to more creation.
It isnecessary to destroy the pretended nobility, entirely literaryand traditional, of marble and bronze? The sculptor can use twenty different materials, or even more, in a single work, provided that the plastic emotion requires it.
Sportswear and activewear have been evolving over the years, and what makes it interesting is how you reflect the culture in which we're living in - whether it's creating clothing for a certain sport or creating new materials that we think athletes or people who are physical want to wear.
I'm not mannerist. I don't think I'm interested in mannerism. If I ever use it in a way, or if manner is like some kind of product of certain sorts of usage of different kinds of materials, then it's about involution or turning in on that.
Necessity is not the mother of invention. Knowledge and experiment are its parents. It sometimes happens that successful search is made for unknown materials to fill well-recognized and predetermined requirements. It more often happens that the acquirement of knowledge of the previously unknown properties of a material suggests its trial for some new use. These facts strongly indicate the value of knowledge of properties of materials and indicate a way for research.
On the earth, satellite of a star speeding through space, living things had arisen under the influence of conditions which were part of the planet's history; and as there had been a beginning of life upon it, so, under the influence of other conditions, there would be an end: man, no more significant than other forms of life, had come not as the climax of creation but as a physical reaction to the environment.
Since nothing can exist that does not fulfil the conditions which render its existence possible, the different parts each being must be co-ordinated in such a way as to render possible the existence of the being as a whole, not only in itself, but also in its relations with other beings, and the analysis of these conditions often leads to general laws which are as certain as those which are derived from calculation or from experiment.
Architecture is the triumph of human imagination over materials, methods, and men, to put man into possession of his own Earth. It is at least the geometric pattern of things, of life, of the human and social world. It is at best that magic framework of reality that we sometimes touch upon when we use the word order.
There's something about materials like copper, woods, stone, trees, shells. You walk outside and these materials are part of the world before we touched anything. There's a feeling of pleasure that many of us have in materials that have some presence before us, like clay and wood and copper.
We divorced ourselves from the materials of the earth, the rock, the wood, the iron ore; we looked to new materials which were cooked in vats, long complex derivatives of urine which we called plastic. They had no odor of the living, ... their touch was alien to nature. ... [They proliferated] like the matastases of cancer cells.
In large organizations there are discrete functions. I do this; you do that. I swim in my lane; you swim in your lane. That can be very effective for certain processes and in certain stable conditions. But it doesn't work in unstable conditions.
What I resist is techniques. I find techniques very problematic. So when critics talk about my work in those terms, I find that they miss the condition. I am comfortable with the notion of pattern and ornament as a system of organization, [but] for me it acts as a textile. So it's not about pattern, but the notion of architecture through the lens of textile, rather than architecture through the lens of brick and mortar.
You could say that my aim is ‘to recover the place’. The place is a result of nature and time; this is the most important aspect. I think my architecture is some kind of frame of nature. With it, we can experience nature more deeply and more intimately. Transparency is a characteristic of Japanese architecture; I try to use light and natural materials to get a new kind of transparency.
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