A Quote by David Chipperfield
Often, architects work too hard trying to make their buildings look different. It's like we're actors let loose on a stage, all speaking our parts at the same time in our own private languages without an audience.
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Often architects work too hard trying to make their buildings look different. It’s like we’re actors let loose on a stage, all speaking our parts at the same time in our own private languages without an audience.
Too many architects are just trying to make all of their buildings look like a brand, and that may be good for business, but that is terrible for the cities because they lose character. If I go to Paris, I go to see the beauty of Paris and the coherence of Paris.
For me, every time I step on the stage it feels like a battle is about to start. It's not like we're going on stage to fight against our audience obviously, because for me, when I go on stage, I'm always trying to reach a new level of how am I going to make today a great night for everyone that's present.
I'm honored that other comedians like what I do. That means the world to me. But at the same time when I'm on stage I'm not just trying to make the comedians laugh - I'm also trying to make the audience laugh. I want to make everybody laugh.
In industry, we are now concentrating our best effort in trying to make plants work at a maximum capacity, trying to replace the equipment which is in bad conditions due to lack of spare parts from the U.S.., that we cannot get from the U.S.; to extend our industry later on the basis of our primary resources. And to lessen our dependence on external markets and dedicate our efforts in 1965 to the aspect of security and hygiene of work, to make our plants better for the worker: that the worker may feel really a man there.
When real actors are approaching their work, we could be on a little stage somewhere, doing community theater. It's all the same. They're just trying to make the scene work. They're just trying to do the best they can and figure it out.
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.
Most of the things at the zoo don't look like us. We're one design that works. Our chimp pals sort of look like us, so that's a different take on the same basic design. But fish don't look like us, and giraffes don't. They look a little like us, but not too much. And insects certainly don't look like us, and they work just fine.
We work just as hard as any footballer, period. We go through the same experiences and heartaches. We make the same sacrifices. We leave our families behind to chase our dreams, too.
Actors are so fortunate. They can choose whether they will appear in tragedy or in comedy, whether they will suffer or make merry, laugh or shed tears. But in real life it is different. Most men and women are forced to perform parts for which they have no qualifications. Our Guildensterns play Hamlet for us, and our Hamlets have to jest like Prince Hal. The world is a stage, but the play is badly cast.
There was a time in our past when one could walk down any street and be surrounded by harmonious buildings. Such a street wasn't perfect, it wasn't necessarily even pretty, but it was alive. The old buildings smiled, while our new buildings are faceless. The old buildings sang, while the buildings of our age have no music in them.
Take death for example. A great deal of our effort goes into avoiding it. We make extraordinary efforts to delay it, and often consider its intrusion a tragic event. Yet we'd find it hard to live without it. Death gives meaning to our lives. It gives importance and value to time. Time would become meaningless if there were too much of it.
It's our job as actors to make it look like it's not manufactured. If you have two actors who understand their characters - and therefore what they are trying to portray - then all they need to do is be the characters and there's a chemistry there.
People think that theater actors are too big for the camera. It's like, 'No, we're actors and we adjust for our audience.'
We have a fear of facing ourselves. That is the obstacle. Experiencing the innermost core of our existence is very embarrassing to a lot of people. A lot of people turn to something that they hope will liberate them without their having to face themselves. That is impossible. We can't do that. We have to be honest with ourselves. We have to see our gut, our excrement, our most undesirable parts. We have to see them. That is the foundation of warriorship, basically speaking. Whatever is there, we have to face it, we have to look at it, study it, work with it and practice meditation with it.
It's interesting for me because in my work, a lot of times, I like to scrutinize the clothes and think what's going to make them look dated, and I do the same with vintage. In vintage, you want something unique and different, but at the same time, something that doesn't make you look like you dress like a grandpa.
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