A Quote by James Henry Breasted
There was an age, however, when the transition from savagery to civilization, with all its impressive outward manifestations in art and architecture, took place for the first time.
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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.
Our civilization is now in the transition stage between the age of warring empires and a new age of world unity and peace.
The institution of a leisure class has emerged gradually during the transition from primitive savagery to barbarism; or more precisely, during the transition from a peaceable to a consistently warlike habit of life.
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.
Art is humanity's most essential, most universal language. It is not a frill, but a necessary part of communication. The quality of civilization can be measured through its music, dance, drama, architecture, visual art and literature. We must give our children knowledge and understanding of civilization's most profound works.
New approaches are needed, new orientations in both thought and action. We must make the transition to a new civilization...We are talking of a transition toward a new civilization. No one knows what it will be like. What is important is to orient in that direction... I am convinced that a new civilization will inevitably take on certain features that are characteristic of, or inherent in, the socialist ideal.
All architecture is great architecture after sunset; perhaps architecture is really a nocturnal art, like the art of fireworks.
We have seen and do see the type of evil that is within human civilization, and the Holocaust took place in European history during an advanced state of technology and form of civilization, only to become an event in that history that questioned what civilization actually means.
It was on the 10th day of May - 1884 - that I confessed to age by mounting spectacles for the first time, and in the same hour I renewed my youth, to outward appearance, by mounting a bicycle for the first time. The spectacles stayed on.
The thin and precarious crust of decency is all that separates any civilization, however impressive, from the hell of anarchy or systematic tyranny which lie in wait beneath the surface .
The mother art is architecture. Without an architecture of our own we have no soul of our own civilization.
The artistic part of us all - I think that the easiest way to appreciate this - is through architecture. Architecture is very impressive; the beauty of buildings, temples.
It's not new that architecture can profoundly affect a place, sometimes transform it. Architecture and any art can transform a person, even save someone.
It's not new that architecture can profoundly affect a place, sometimes transform it. Architecture and any art can transform a person, even save someone. It can for children - for anyone. It still does for me.
Does it follow that the house has nothing in common with art and is architecture not to be included in the arts? Only a very small part of architecture belongs to art: the tomb and the monument. Everything else that fulfils a function is to be excluded from the domain of art.
What people that are professionals in the art world - both in literature and the other arts - always try to do is to recognize the feasibility of making the transition from the particular to the general - to make the transition from the portrait of one postman - to take Van Gogh, for example, to something that is every postman. That synecdotal transition that most selfies don't make. But we who live in this world, and not simply in our private realities, understand that that's the transition our art has to make.
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