A Quote by Joshua Prince-Ramus
Working off one genius sketch is not the way great architecture should be made.
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Architecture is not created by individuals. The genius sketch ... is a myth. Architecture is made by a team of committed people who work together, and in fact, success usually has more to do with dumb determination than with genius.
Some people think architecture is about the genius sketch; I don't. Great architecture is a collaboration among a lot of people over a long period of time.
In the Renaissance there wasn't a distinction. Bernini was an artist and he made architecture, and Michelangelo also did some great architecture.
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.
Nine out of nine architects start with a sketch, and then they say, 'What should we make it out of?' I start from the bottom up - what should it be made out of - and then I worry about what should it look like. The material, the color of the material, the way it feels, and the way you respond to it is every bit as valid as the form or the shape.
Made a sketch later on the cabin verandah, but it was impossible to keep up with the changes. Oh the difficulties of mountain art for too little genius.
When I graduated, I was director of my school's sketch comedy group, and I knew that I wanted to be writing and performing my own sketch comedy. It kind of made me want to do my own one-person sketch group.
You asked what is the secret of a really good sketch. And it is a sketch is a small play. It's got a beginning, and a middle and an end. It should have a plot; it should have the characters, conflict. It is a little play. And in it, will be funny stuff.
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.
Genius is its own reward; for the best that one is, one must necessarily be for oneself. . . . Further, genius consists in the working of the free intellect., and as a consequence the productions of genius serve no useful purpose. The work of genius may be music, philosophy, painting, or poetry; it is nothing for use or profit. To be useless and unprofitable is one of the characteristics of genius; it is their patent of nobility.
I've always been interested in an architecture of resistance - architecture that has some power over the way we live. Working under adversarial conditions could be seen as a plus because you're offering alternatives. Still, there are situations that make you ask the questions: 'Do I want to be a part of this?'
The way that I'm working now is basically the way I've been working since I was a kid: Find the greatest artist in whatever you do, and rip them off with respect. I think there's a big difference between ripping off with respect and ripping off in disrespect.
There were some great clinicians in the 20th century - great men. Freud was a genius; Jung was a genius, Carl Rogers was a genius - there's a half-dozen psychologists of the 1950s and humanists of the 1960s.
The principle of the Gothic architecture is infinity made imaginable. It is no doubt a sublimer effort of genius than the Greek style; but then it depends much more on execution for its effect.
I don't think the sketch on its own is a great sketch.
I'd been to Stourhead and was inspired by the perfect parity between architecture and art; in fact, the architecture is the art. I wrote a piece called 'Not Sculpture Park,' because most of these things become car parks for bought-in sculpture. The artists should be working with the site, not just plonking pieces down.
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