A Quote by Keller Easterling
I thought architecture would offer a mix of the artful and practical. It seemed cooler than some of the other options in the university. The lights were on in the architecture school when I got out of rehearsal at night. And I thought the men were handsome.
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I always had some kind of creative side and technical side, and I thought architecture might be the way to combine them, so I went to architecture school in New York.
When I started university, I didn't know much about architecture, so I flipped through a lot of magazines, looking at different and exciting images from all over the world. I thought that architecture could be interesting.
Sustainability has become a religion in architecture - not that there's anything wrong with it - but I think it has to work both ways. Everyone thinks architecture has to be subservient to sustainability, but what if we thought in the other direction, like, what can sustainability do to make architecture more exciting?
I went to school for engineering, I studied jazz. So I always had this kind of creative side and technical side, and I thought architecture might be the way to combine them, so I went to architecture school in New York.
During my university years, I was doing a lot of theatre acting. I would be skipping school for rehearsal. We were rehearsing at night - we finished at midnight, and I had to go to school at 8 A.M. It was very tiring.
I was in school for architecture and when you're in school for a creative discipline, so much of what you produce comes out of inspiration from other people. The more you're exposed to architecturally, the better you can develop your own language out of that history of architectural thought.
If you examine this, I think that you will find that it's the mechanics of Japanese architecture that have been thought of as the direct influence upon our architecture.
It was very definitely architectural. I was using the words on the page as some kind of equivalent of a physical model. But I never thought at that point that I wanted to move toward architecture. I wanted to move toward real space. Sure, that's probably another way of saying, I want to move toward architecture. But I didn't define real space in terms of architecture, then.
One summer, when I was on break from architecture school in Tijuana, my aunt gave me a summer job cleaning up and peeling garlic, and I got to see her in her element. She was so passionate and such a good teacher, I decided to quit architecture school and go to culinary school in Los Angeles.
I wanted to be a cartoonist, but there was no cartoon academy. So I enrolled in the Royal Danish Art Academy School of Architecture. But then I really got smitten by 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.
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.
Mies van der Rohe's architecture and modern architecture in general suffered from not only being repetitive, but not explaining to the populous what the different rooms were for.
I realized that the way I approached architecture was with a somewhat fashion brain. That didn't get me very good marks in school, because everyone thought fashion was lightweight. In architecture they say, "Well, why is the door pink? Where does it go? What does the pink mean? What does it symbolize? All the other doors are beige, why is that one pink?" I was like, "Well, it's pink because it's pretty."
There was no moon but the night sky was a riot of crisp and glittering autumn stars. There were streetlights too and lights on buildings and on bridges which looked like earthbound stars and they glimmered repeated as they were reflected with the city in the night water of the Thames. It’s fairyland thought Richard.
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.
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