A Quote by James Stewart

I was going to be an architect. I graduated with a degree in architecture and I had a scholarship to go back to Princeton and get my Masters in architecture. I'd done theatricals in college, but I'd done them because it was fun.
At about five I knew I was going to be an architect because my mother had studied architecture. I thought it was women's work. I had a proprietary feeling about architecture. I could own it because my mother owned it.
Architecture is for the young. If our teenagers don't get architecture - if they are not inspired, (then) we won't have the architecture that we must have if this country is going to be beautiful.
I am a failed architect, if I'm honest. I got a degree in art history and was about to get another degree, in architecture, but realized I would be terrible at building things because I've got really bad spatial awareness.
I practised as an architect for 10 years. I qualified in 1973 with a fellowship diploma of architecture. World Series Cricket gave me the freedom to go out and pursue architecture.
I'm working on a school of architecture in China. It's rare that an architect gets to design a school of architecture, and here I get to do it. I'm so pleased that they asked me.
Britain gets the architecture it deserves. We don’t value architecture, we don’t take it seriously, we don’t want to pay for it and the architect isn’t trusted.
I went to art school in Chicago for a year at Columbia College. I had this whole master plan of getting into sustainable development and green architecture and construction, so I wanted to go to business school and then get my masters in construction and development.
Only when architect, bricklayer and tenant are a unity, or one and the same person, can we speak of architecture. Everything else is not architecture, but a criminal act which has taken on form.
The content could be done anyplace, but the real invention is the architecture. The architecture is the only work that really defines a new way of doing things. I think this point is fundamental.
I was fortunate enough to get a scholarship to go to college in the United States. By the time I graduated, we had a full-blown civil war in both Liberia and Sierra Leone. I couldn't go home.
The same sort of thing happened in my dispute with the National Trust book: Follies: A National Trust Guide, which implied that the only pleasure you can get from Folly architecture is by calling the architect mad, and by laughing at the architecture.
I think people care. If not, why do so many people spend money going on vacations to see architecture? They go to the Parthenon, to Chartres, to the Sydney Opera House. They go to Bilbao... Something compels them, and yet we live surrounded by everything but great architecture.
I've never had a problem with the old truism about dancing to architecture. I think you can dance to architecture. There's some pretty funky architecture to dance to.
Japanese traditional architecture is created based on these conditions. This is the reason you have a very high degree of connection between the outside and inside in architecture.
When we come to understand architecture as the essential nature of all harmonious structure we will see that it is the architecture of music that inspired Bach and Beethoven, the architecture of painting that is inspiring Picasso as it inspired Velasquez, that it is the architecture of life itself that is the inspiration of the great poets and philosophers.
When we talk of architecture, people usually think of something static; this is wrong. What we are thinking of is an architecture similar to the dynamic and musical architecture achieved by the Futurist musician Pratella. Architecture is found in the movement of colours, of smoke from a chimney and in metallic structures, when they are expressed in states of mind which are violent and chaotic.
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