A Quote by Federico Garcia Lorca
The two elements the traveler first captures in the big city are extra human architecture and furious rhythm. Geometry and anguish.
Related Quotes
Architecture produces a musical mood in our inner being, and we notice that even though the elements of architecture and music appear to be so alien in the outer world, through this musical mood engendered in us, our experience of architecture brings about a reconciliation, a balance between these two elements.
I see only one requirement you have to have to be a director or any kind of artist: rhythm. Rhythm, for me, is everything. Without rhythm, there's no music. Without rhythm, there's no cinema. Without rhythm, there's no architecture.
Every land has its own special rhythm, and unless the traveler takes the time to learn the rhythm, he or she will remain an outsider there always.
'Fast And Furious 7' was quite random. I remember that it was the first holiday that I took in the entire year. I was in Mussoorie for two days with my friends when I got a call from my international PRs asking me to audition for 'Fast And Furious 7.'
There's the internal rhythm within a sequence, and then there's the rhythm between the sequences, and that's extremely important in constructing the narrative. For example, you don't put two big dramatic scenes right next to each other. But you can use the rhythm of the transition shots; they can often serve a double purpose.
But the rhythm of the mix tape is the rhythm of romance, the analog hum of a physical connection between two sloppy, human bodies.
A pool at the edge of the ocean is the simplest geometry, yet you feel connected to the sea. In a forest with the mountains in the background, you also feel the connection to nature, yet it's a very complex geometry. I think architecture is about controlling these feelings.
[A]nother important difference between tourist and traveler is that the former accepts his own civilization without question; not so the traveler, who compares it with the others, and rejects those elements he finds not to his liking.
It's not easy to shout against real elements. The elements are big, and the human voice is very small.
The bones of my architecture are very much related to the structure, to the physical fact of how a building can stand up; it's also related to geometry and a certain understanding of the architecture in which there is a balance between expression and function.
When I was a boy, I was 15-16, I had a job during the school holidays as an extra. That's how I started. My first time on set was as an extra. I did it for two years. It was amazing!
One of the things that distinguishes poetry from ordinary speech is that in a very few number of words, poetry captures some kind of deep feeling, and rhythm is the way to get there. Rhythm is the way the poetry carries itself.
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.
There is a double rhythm in all human beings. We are binary beings - two arms, two legs, two eyes, two ears. Two legs for walking. And the heartbeat thumping in our chest mirrors that.
Greek architecture is the flowering of geometry.
I really like the city of Vienna. I like its art, its music and its architecture. In short, I like the culture that Vienna represents. What really captures me is the period around 1900 - the time of Freud, Schnitzler and Klimt. This is the period in which the modern view of mind was born.
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