A Quote by Mario Botta

The Academy of Architecture in Mendrisio comes from afar. Our land has a millennial history of emigrations: master masons, architects, builders, decorators, plasterers, artists from the world of building.
Architects of grandeur are often the master builders of disillusionment.
Building a baseball team is like building a house. You look for the best architects, the best builders - and then you let them do their jobs.
My dad, he's definitely one of greatest writers of his generation. There is no question about it. When you are that good, when work is that good, you have to appreciate every aspect of it. It's the architecture of it, it's like looking at a Frank Lloyd Wright building or a Lautner building, it's master craftsmanship. Every aspect of it intertwines in a perfectly harmonious way. That's what architecture is at its best and the architecture of my father's music is on that level.
The ultimate aim of all artistic activity is building! ... Architects, sculptors, painters, we must all get back to craft! ... The artist is a heightened manifestation of the craftsman. ... Let us form ... a new guild of craftsmen without the class divisions that set out to raise an arrogant barrier between craftsmen and artists! ... Let us together create the new building of the future which will be all in one: architecture and sculpture and painting.
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.
Business owners should think of designers as architects, not decorators.
I am always surprised by how much little emphasis schools of architecture, and indeed, many architects, place on the process of the mating of a building.
A building does not have to be an important work of architecture to become a first-rate landmark. Landmarks are not created by architects. They are fashioned by those who encounter them after they are built. The essential feature of a landmark is not its design, but the place it holds in a city's memory. Compared to the place it occupies in social history, a landmark's artistic qualities are incidental.
We need freedom to roam across land owned by no one but protected by all, whose unchanging horizon is the same that bounded the world of our millennial ancestors.
We CREATORS are builders. We are dedicated to the idea of building a beautiful world so different and so superior to the present one that we CREATORS of this generation will go down in history as the revolutionaries who ushered in the Golden Age of Mankind.
The tall building, concentrating man in one place more densely than ever before, similarly concentrates the dilemma of our public architecture at the end of the twentieth century: whether the new forms made possible by technology are doomed by the low calculations of modern patrons and their architects.
You will find it will almost always be more comfortable to sit on the sidelines and critique the builders from afar. But at the end of the day, the people who make a difference, the people who shape history, are not the haters.
It is insufficient for architecture today to directly implement an existing building typology; it instead requires architects to carefully examine the whole area with new interventions and programmatic typologies
For we constantly deal with practical problems, with molders, contractors, derricks, stone-men, ropes, builders, scaffoldings, marble assistants, bronze-men, trucks, rubbish men, plasterers, and what-not else, all the while trying to soar into the blue.
Concepts differentiate architecture from mere building...A bicycle shed with a concept is architecture; a cathedral without one is just a building.
Throughout history, from Abyssinians and Greeks onward, artists, sculptors, and architects have worked together. I find this post - World War II thing, this segmentation of the arts, so lame. It's the laming of the arts.
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