A Quote by Kareem Abdul-Jabbar
My high school had been a renovated old hospital, so when I first came to the UCLA campus in the spring of 1965, I was immediately impressed by the classic northern Italian architecture that was mixed with futuristic ultra-modern buildings. The classic architecture gave it the heft of old wisdom while the modernistic look inspired hope for the future.
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When I started studying architecture, people would say, you know, 'Can you tell me why are all modern buildings so boring?' Because, like, people had this idea that in the good old days, architecture had, like, ornament and little towers and spires and gargoyles, and today, it just becomes very practical.
After World War II great strides were made in modern Japanese architecture, not only in advanced technology, allowing earthquake resistant tall buildings, but expressing and infusing characteristics of traditional Japanese architecture in modern buildings.
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 didn't really have the entire high school experience. I've been working since I was six years old, so I didn't go to the classic high school.
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.
There's nothing classic about what's around now. I am a bit old-school. There are some things that are never out of fashion because they just look good. But if you want classic style these days you have to get it made.
I love antique architecture, so if I have any indulgences, I have owned and renovated and reconstructed a lot of old houses.
I hope you will understand that architecture has nothing to do with the inventions of forms. It is not a playground for children, young or old. Architecture is the real battleground of the spirit.
I began to see new buildings, too, which were connected by futuristic walkways lit from beneath. Long, cool perspectives of modern architecture, rising phosphorescent and eerie from the rubble.
In the '60s when I was a student, there was this campaign to destroy 75 percent of the old buildings in Paris, replacing them with modern architecture. I realized this as a dangerous utopia. This modern vision did not understand the richness of the city. Thankfully, such destruction did not happen.
In the beginning, I was so inspired by the music. I had the option to make something modern with classic undertones, but I wanted to make something that was exactly like that old sound.
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.
When I was in architecture school, rather than giving us drafting boards and t-squares and lead pencils and stuff they gave us all the same tools that places like Digital Domain and ILM used to make features films or special effects. They gave us all these digital tools like Alias and Mya and Soft Image and all these kind of high-end computers, so I came out of architecture school knowing how to use all that stuff. And I started making short films at night.
I've always been attracted to classic patterns in architecture, music and drama.
I'm not trying to be new school and I'm not old school - I'm classic. There's a lot of new cars and there's a lot of old cars, but I'm just classic in doing what I do.
I started to begin to be interested in architecture and design when I was 14 years old, which was pretty early in life. And then I would start to look at architectural magazines and I eventually went to the school of architecture too, but one of the things I learned very early is that an architect should be able to design anything from a spoon to the city.
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