A Quote by Jimenez Lai
In order for architecture to experience its ongoing evolution as a language, there has to be a lot of adjusted copies between how architects draw, think, engage bylaws and constraints.
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I think of architecture as language, and I look within the intra-communication between architects.
I don't know any architects that I respect who don't have their own voice. I think the difference between architecture and the other arts is your immersion in reality.
Architects have made architecture too complex. We need to simplify it and use a language that everyone can understand.
Pertaining to a certain order of architecture, otherwise known as Normal American. Most of the public buildings of the United States are of the Ramshackle order, though some of our earlier architects preferred the Ironic. Recent additions to the White House in Washington are Theo-Doric, the ecclesiastic order of the Dorians. They are exceedingly fine and cost one hundred dollars a brick.
Some architects think of clients only as sources of work and income but most good architecture is in fact the result of successful design collaboration between a talented architect and an enlightened, motivated client.
One way to think about what psychedelics are is as catalysts for language development. They literally force the evolution of language. You cannot evolve faster than your language because the language defines the culture of meaning. So if there's a way to accelerate the evolution of language then this is real consciousness expansion and it's a permanent thing. The great legacies of the 60's are in attitudes and language. It boils down to doing your own thing, feeling the vibe, ego-trip, blowing your mind.
I love architecture, but I learned early on that architects just don't make a lot of money.
These days, information is a commodity being sold. And designers-including the newly defined subset of information designers and information architects-have a responsible role to play. We are interpreters, not merely translators, between sender and receiver. What we say and how we say it makes a difference. If we want to speak to people, we need to know their language. In order to design for understanding, we need to understand design.
An essay is something that tracks the evolution of a human mind. It tracks the evolution of a single consciousness in order to give us an experience - an experience of looking for something and then finding ourselves in a different place by the time we've finished our journey.
Architects have created this fake separation between creation and execution. You can see it in architecture schools, where the students look down on going to contracts classes.
We're very concerned with language and how language works. We're trying to engage people rather than dictate how they should be thinking.
Every time I traveled to a new city, I would learn about local heroes I did not know about, and I would learn about their very impressive contribution to their cities. There are nuanced senses that only people from the region can understand, and no amount of globalization can change that. It's almost like a maxim of a sorts, when you think about language, the way that people speak in a location. It does happen with architects, in terms of how they engage cities.
Syntax and vocabulary are overwhelming constraints --the rules that run us. Language is using us to talk --we think we're using the language, but language is doing the thinking, we're its slavish agents.
We can move no faster than the evolution of our language, and this is certainly part of what the psychedelics are about: they force the evolution of language.
The architects who benefit us most maybe those generous enough to lay aside their claims to genius in order to devote themselves to assembling graceful but predominantly unoriginal boxes. Architecture should have the confidence and the kindness to be a little boring.
I am always surprised by how much little emphasis schools of architecture, and indeed, many architects, place on the process of the mating of a building.
