A Quote by Frank Lloyd Wright
Architecture isman'sgreat sense of himself embodied in a world of his own making. It may rise as high in quality only as its source because great art isgreat life.
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A civilization is only a way of life. A culture is the way of making that way of life beautiful. So culture is your office here in America, and as no stream can rise higher than its source, so you can give no more or better to architecture than you are. So why not go to work on yourselves, to make yourselves, in quality, what you would have your buildings be?
Architecture is art. I don't think you should say that too much, but it is art. I mean, architecture is many, many things. Architecture is science, is technology, is geography, is typography, is anthropology, is sociology, is art, is history. You know all this comes together. Architecture is a kind of bouillabaisse, an incredible bouillabaisse. And, by the way, architecture is also a very polluted art in the sense that it's polluted by life, and by the complexity of things.
. . .a sense of humor can be a great help-particularly a sense of humor about (oneself). William Howard Taft joked about his own corpulence and people loved it; took nothing from his inherent dignity. Lincoln eased tense moments with bawdy stories, and often poked fun at himself-and history honors him for this human quality. A sense of humor is part of the art of leadership, of getting along with people, of getting things done.
No man learns to know his inmost nature by introspection, for he rates himself sometimes too low, and often too high, by his own measurement. Man knows himself only by comparing himself with other men; it is life that touches his genuine worth.
Bahá'u'lláh is not the Intermediary between other Manifestations and God. Each has His own relation to the Primal Source. But in the sense that Bahá'u'lláh is the greatest Manifestation to yet appear, the One Who consummates the Revelation of Moses; He was the One Moses conversed with in the Burning Bush. In other words Bahá'u'lláh identifies the glory of the Godhead on that occasion with Himself. No distinction can be made amongst the Prophets in the sense that They all proceed from One Source, and are of One Essence. But Their stations and functions in this world are different.
The duty of the artist is not to be calculating in any sense, so that he may be free himself of human emotions while carried by the universal forces of life. Only then does one not think about making art, or about styles, or directions. Something comes about, something happens.
Norman Mailer records in his recent essays and public appearances his perfecting of himself as a virile instrument of letters; he is perpetually in training, getting ready to launch himself from his own missile pad into a high, beautiful orbit; even his failures may yet be turned to successes.
For me, architecture is an art the same as painting is an art or sculpture is an art. Yet, architecture moves a step beyond painting and sculpture because it is more than using materials. Architecture responds to functional outputs and environmental factors. Yet, fundamentally, it is important for me to stress the art in architecture to bring harmony.
All architecture is great architecture after sunset; perhaps architecture is really a nocturnal art, like the art of fireworks.
I know now that he who hopes to be universal in his art must plant in his own soil. Great art is like a tree, which grows in a particular place and has a trunk, leaves, blossoms, boughs, fruit, and roots of its own. The more native art is, the more it belongs to the entire world, because taste is rooted in nature. When art is true, it is one with nature. This is the secret of primitive art and also of the art of the mastersMichelangelo, Czanne, Seurat, and Renoir. The secret of my best work is that it is Mexican.
A quality is something capable of being completely embodied. A law never can be embodied in its character as a law except by determining a habit. A quality is how something may or might have been. A law is how an endless future must continue to be.
In everything that can be called art there is a quality of redemption. It may be pure tragedy, if it is high tragedy, and it may be pity and irony, and it may be the raucous laughter of the strong man. But down these mean streets a man must go who is not himself mean, who is neither tarnished nor afraid.
Architecture might be more sportive and varied if every man built his own house, but it would not be the art and science that we have made it; and while every woman prepares food for her own family, cooking can never rise beyond the level of the amateur's work.
I got into architecture because I was searching for a way to produce in the world. I went to art school and thought I would do it through art, but I realized very quickly that I was interested in the social ramifications of form making. So buildings became the vehicle and fulfilled that thing. That satisfied me when I produced them. I decided this is what I wanted to do with the rest of my life.
He [A. J. Balfour] was eminently one of the Cole Porter school of famous men, who only fell to rise again. Picking himself up and brushing himself down became a minor art form, ruefully admired by his contemporaries.
The whole world, from the least to the greatest, must know the truth, so that man may understand the great laws that govern his life. He must learn to control his own destiny, to heal his own body and bring happiness to his own soul.
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