A Quote by Elizabeth Diller
My interest was always to do interdisciplinary work with space. I thought of architecture as one strand in a multimedia practice.
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Space, space: architects always talk about space! But creating a space is not automatically doing architecture. With the same space, you can make a masterpiece or cause a disaster.
There's a Danish architecture firm called BIG. I love architecture, and I always check out their work; they're very good at reimagining the way we live. They put the human experience as the focus, with access to air and outdoor space.
It was very definitely architectural. I was using the words on the page as some kind of equivalent of a physical model. But I never thought at that point that I wanted to move toward architecture. I wanted to move toward real space. Sure, that's probably another way of saying, I want to move toward architecture. But I didn't define real space in terms of architecture, then.
My interest in architecture has always been sculptural. Most of my photography is of architecture.
My interest in architecture has always been sculptural. Most of my photography is of architecture
All architecture is shelter, all great architecture is the design of space that contains, cuddles, exalts, or stimulates the persons in that space.
Sustainability has become a religion in architecture - not that there's anything wrong with it - but I think it has to work both ways. Everyone thinks architecture has to be subservient to sustainability, but what if we thought in the other direction, like, what can sustainability do to make architecture more exciting?
At least 90 percent of my work is in situ. For me, it's not only to work with the architecture and space, it's also to work with the time, to work with the people who are involved with the place. It's also dealing with history. It takes all this into account. Other works can be placed in different environments, but they always follow a rule. This is usually not the case for work in situ, because even if they are transported, they remain there forever or they are destroyed.
There is no ecological architecture, no intelligent architecture and no sustainable architecture - there is only good architecture. There are always problems we must not neglect. For example, energy, resources, costs, social aspects - one must always pay attention to all these.
Whether you're trying to excel in athletics or in any other field, always practice. Look, listen, learn - and practice, practice, practice. There is no substitute for work, no shortcut to the top.
Yes, people do come across the street to say hi, but as they approach and get near, my perception of space begins to dissolve, and a new interest takes over that is primarily emotional, and with it comes a desire to touch, which may be a human interest, but not the interest of my work.
The color and spectacle of Mexico's streets sparked my interest in community driven space and experience, a passion that I began to develop while studying architecture at Syracuse University and then at the Architectural Association School in London. Having been immersed in such a diverse array of lively environments, it would be impossible for me not to use these memories and experiences as inspiration for my work.
The first gesture of an architect is to draw a perimeter; in other words, to separate the microclimate from the macro space outside. This in itself is a sacred act. Architecture in itself conveys this idea of limiting space. It's a limit between the finite and the infinite. From this point of view, all architecture is sacred.
I always had some kind of creative side and technical side, and I thought architecture might be the way to combine them, so I went to architecture school in New York.
When I started out I thought just hearing one of my records on the radio would be magical. Fortunately, that naivety has always stayed with me. Because when you've had massive success and it tapers off people lose interest in you. So you have to work even harder to generate interest.
My interest has always been in an architecture which reflects the modernity of our epoch as opposed to the rethinking of historical references. My work deals with what is happening now—our techniques and materials, what we are capable of doing today.
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