A Quote by I. M. Pei
Contemporary architects tend to impose modernity on something. There is a certain concern for history, but it's not very deep.
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Contemporary architects tend to impose modernity on something. There is a certain concern for history but it’s not very deep. I understand that time has changed, we have evolved. But I don’t want to forget the beginning. A lasting architecture has to have roots.
Animism is far from primitive, nor is it about pre-modernity because animism does not serve as a precursor to modernity. Rather animism is one of the many vitally present and contemporary other-than-modern ways of being human.
A large number of us have developed a feeling that architects tend to design houses for the approval of fellow architects and critics, not for the tenants.
The history of Christianity, therefore, must be of concern to all who are interested in the record of man and particularly to all who seek to understand the contemporary human scene.
Whether we like it or not, the modernity is something that comes from Western countries, and when the modernity comes to the Eastern countries, although they feel like they really need it, at the same time it shakes the very fundament of the culture - there is always this challenge between the two.
Delhi is a very maligned city, and deservedly so. Yet there's something about it. It's a secret city, it doesn't hang out its wares. It's like a very deep river. Floating right up on top are the institutions of contemporary power: government, politics, media, and then there's the bureaucracy, the diplomatic missions. But it's also the city of intellectual debate, of protest, it's the city where people from all over the country converge to express their anger. And then, underneath all that, there's this crumbling, ancient city, a confluence of so much history.
We must consider how very little history there is--I mean real, authentic history. That certain kings reigned and certain battles were fought, we can depend upon as true; but all the coloring, all the philosophy, of history is conjecture.
We must delve deep into history the better to engage a true dialogue of civilisations. Fear of the present can impose upon the past its own biased vision.
It is ironic to watch the churches, including large sections of my own religion, surrendering to the spirit of modernity at the very moment when modernity itself is undergoing a kind of spiritual collapse.
I tend to be very private. It's easier for me. When you're acting, you're very susceptible to comments that somebody makes, so if they know something is going to happen on the show, and they say something, it can actually throw you off. So I tend to not share things with anybody.
I think architects have a major role in being responsible for illustrating what the future could be. Because of the very strong political and commercial climate, many architects are trying very hard to solve everyday issues, to respond to the authorities.
There was something about Beyoncé that felt like a vessel, I guess, that I could kind of impose all of these feelings and thoughts onto. I was drawn to a little bit of a dichotomy between the glamour and celebrity and the very deep and complex legacy of black women, and what that means in terms of performance.
You're only dealing with whatever you know, which is a very small part of it and later on it'll look like it has something to do with the period. Obviously, the artists have something to do with one another. They tend to set up certain common qualities among themselves.
We tend to defend vigorously things that in our deepest hearts we are not quite certain about. If we are certain of something we know, it doesn't need defending.
John wrote with a very deep love for the human race and a concern for its future.
People tend to view land art as something that happened at a certain historical moment - like minimal art, which I was also very much involved with. But it still goes on. It's very much alive.
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