A Quote by Ludwig Mies van der Rohe
Reinforced concrete buildings are by nature skeletal buildings. No noodles nor armoured turrets. A construction of girders that carry the weight, and walls that carry no weight. That is to say, buildings consisting of skin and bones.
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I have a book of buildings from 25,000 BC. These are huts built out of mammoth bones. These buildings were beautifully made, from the bones of the body into shelter.
There was a time in our past when one could walk down any street and be surrounded by harmonious buildings. Such a street wasn't perfect, it wasn't necessarily even pretty, but it was alive. The old buildings smiled, while our new buildings are faceless. The old buildings sang, while the buildings of our age have no music in them.
Modern buildings of our time are so huge that one must group them. Often the space between these buildings is as important as the buildings themselves.
Seoul will strictly limit the total greenhouse gas emissions from buildings and expand the construction of zero-energy buildings.
I don't think all buildings have to be iconic, but the history of the world has shown us that cultures build iconic buildings for their major public buildings.
There are hundreds of Frank Lloyd Wright buildings around the United States and in other countries, too. Wright lived into his 90s, and one of his most famous buildings, the Guggenheim Museum in New York, was completed just before his death. Wright buildings look like Wright buildings - that is their paradox.
We shouldn't just look at new buildings but at existing stock building because that's an even greater problem than the new buildings being built. The renovation of existing buildings and making them green is just as important as designing new green buildings.
We try to turn buildings into landscapes - defying the idea of modernism which sees nature and buildings as two distinct elements.
What I have learned about museum buildings is that buildings have to have iconic presentations. The position of the art museum vis-a-vis other civic buildings needs to be hierarchal in the community. It has to be equal to the library and the courthouse.
Layering and changeability: this is the key, the combination that is worked into most of my buildings. Occupying one of these buildings is like sailing a yacht; you modify and manipulate its form and skin according to seasonal conditions and natural elements, and work with these to maximize the performance of the building.
I just want to build the best buildings. It's not about me, it's about the buildings, creating a space where society can gather and marvel in beauty and nature.
Cities need old buildings so badly it is probably impossible for vigorous streets and districts to grow without them.... for really new ideas of any kind--no matter how ultimately profitable or otherwise successful some of them might prove to be--there is no leeway for such chancy trial, error and experimentation in the high-overhead economy of new construction. Old ideas can sometimes use new buildings. New ideas must use old buildings.
It is absurd and anti-life to be part of a system that compels you to listen to a stranger reading poetry when you want to learn to construct buildings, or to sit with a stranger discussing the construction of buildings when you want to read poetry.
In Florence, classical buildings sit against medieval buildings. It's that contrast we like.
I wanted to be an architect. I used to draw houses and buildings and construct buildings on my own.
Where can we find greater structural clarity than in the wooden buildings of the old. Where else can we find such unity of material, construction and form? Here the wisdom of whole generations is stored. What feelings for material and what power of expression there is in these buildings! What warmth and beauty they have! They seem to be echoes of old songs.
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