A Quote by Glenn Murcutt
I'm very interested in buildings that adapt to changes in climatic conditions according to the seasons, buildings capable of responding to our physical and psychological needs in the way that clothing does. We don't turn on the air-conditioning as we walk through the streets in high summer. Instead, we change the character of the clothing by which we are protected. Layering and changeability: this is the key.
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Layering and changeability: this is the key, the combination that is worked into most of my buildings. Occupying one of these buildings is like sailing a yacht; you modify and manipulate its form and skin according to seasonal conditions and natural elements, and work with these to maximize the performance of the building.
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.
Better use of space, improving the insulation, getting more daylight into the buildings, reducing the energy consumption of the air conditioning and heating systems, making sure that the internal air quality is good, that we have increased natural ventilation opportunities in the mid seasons. You know these are some of the things we can do.
I want to do very useful buildings and I would like to find a method of producing these buildings through our technology because I think that this is the only way that we will gain wonderful environment easily in the future.
I love to walk through the streets of Jesus Maria and Pueblo Libre. The Spanish colonial buildings are in bright colors, two stories high, with these intricate wooden, windowed balconies.
We try to turn buildings into landscapes - defying the idea of modernism which sees nature and buildings as two distinct elements.
The appearance presented by the streets of London an hour before sunrise, on a summer's morning, is most striking even to the few whose unfortunate pursuits of pleasure, or scarcely less unfortunate pursuits of business, cause them to be well acquainted with the scene. There is an air of cold, solitary desolation about the noiseless streets which we are accustomed to see thronged at other times by a busy, eager crowd, and over the quiet, closely-shut buildings, which throughout the day are swarming with life and bustle, that is very impressive.
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.
There's a way in which you can look at clothing as your outer skin. And because you were discriminated against because of your complexion, the way in which you could overcome that was through the way in which you presented yourself with your clothing.
We depend on our surroundings obliquely to embody the moods and ideas we respect and then to remind us of them. We look to our buildings to hold us, like a kind of psychological mould, to a helpful vision of ourselves. We arrange around us material forms which communicate to us what we need — but are at constant risk of forgetting what we need — within. We turn to wallpaper, benches, paintings and streets to staunch the disappearance of our true selves.
What I have learned about museum buildings is that buildings have to have iconic presentations. The position of the art museum vis-a-vis other civic buildings needs to be hierarchal in the community. It has to be equal to the library and the courthouse.
Chinese buildings are like American buildings, with big footprints. People don't care about daylight or fresh air.
Cities need old buildings so badly it is probably impossible for vigorous streets and districts to grow without them.... for really new ideas of any kind--no matter how ultimately profitable or otherwise successful some of them might prove to be--there is no leeway for such chancy trial, error and experimentation in the high-overhead economy of new construction. Old ideas can sometimes use new buildings. New ideas must use old buildings.
I want to show you that you can leap tall buildings, walk through walls, and change reality.
Archaeology can be overlooked as a discipline, I think, but it's incredibly important to have this other way of approaching the past - not just through historical documents, but through actual physical remains - objects, buildings and the layout of our towns.
You see all these old buildings [in Rio] going down or catching fire overnight, and it is so sad. I am very connected with these buildings because they are our history. It is the only one that we have.
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