A Quote by John Ruskin
Architecture ... the adaptation of form to resist force.
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Contrary to popular belief, conventional wisdom would have one believe that it is insane to resist this, the mightiest of empires… But what history really shows is that today`s empire is tomorrow`s ashes, that nothing lasts forever, and that to not resist is to acquiesce in your own oppression. The greatest form of sanity that anyone can exercise is to resist that force that is trying to repress, oppress, and fight down the human spirit.
To me, form doesn't always follow function. Form has a life of its own, and at times, it may be the motivating force in design. When you're dealing with form as a sculptor, you feel that you are quite free in attempting to mould and shape things you want to do, but in architecture, it's much more difficult because it has to have a function.
Whatever you resist you become. If you resist anger, you are always angry. If you resist sadness, you are always sad. If you resist suffering, you are always suffering. If you resist confusion,you are always confused. We think that we resist certain states because they are there, but actually they are there because we resist them.
I don't think of form as a kind of architecture. The architecture is the result of the forming. It is the kinesthetic and visual sense of position and wholeness that puts the thing into the realm of art.
It's about the connecting force from form to form. It's the toe bone connecting to the shoulder bone. It's the bacterial kick of life force, something growing out of nothing, forming itself out of something else. Form never stops. And form is always environmental.
In general, when the imagination is at all noble, it is irresistible, and therefore those who can at all resist it ought to resist it. Be a plain topographer if you possibly can; if Nature meant you to be anything else, she will force you to it; but never try to be a prophet.
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.
So viewing the issue, no choice was left but to call out the war power of the Government; and so to resist force, employed for its destruction, by force, for its preservation.
Architecture is the will of an epoch translated into space. Living, Changing, New. Not yesterday, not tomorrow, only today can be given form. Only such architecture is creative.
I want to try to come away from that one directional, clear rectangular form. It's not used because it's the most beautiful form; it's just the practical thing. That's why our TVs are rectangles. Even in modern architecture, they want us to believe, "That's the nicest, most beautiful thing." I love modern architecture, but actually it's that they cannot afford amorphous shapes or ornaments.
In architecture the pride of man, his triumph over gravitation, his will to power, assume a visible form. Architecture is a sort of oratory of power by means of forms.
So here I stand before you preaching organic architecture: declaring organic architecture to be the modern ideal and the teaching so much needed if we are to see the whole of life, and to now serve the whole of life, holding no traditions essential to the great TRADITION. Nor cherishing any preconceived form fixing upon us either past, present or future, but-instead-exalting the simple laws of common sense-or of super-sense if you prefer-determining form by way of the nature of materials.
I am driven by a greater force than I can resist. I believe that force has its own reason and its own morality even if they may never be clear to me while I am alive
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.
I worked out a rather deep-dish theory defining the theater as a form of architecture rather than a form of literature.
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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