A Quote by Martin Filler

Nineteenth- and early-twentieth-century exponents of prefabrication were certain it would supplant age-old traditions of individualized design and handcrafted construction. The building art would be revolutionized by freeing designers and construction workers from repetitive tasks, and democratized by making high-style architecture more affordable.
I worked construction clean-up. I was driving a pickup truck at the age of 14 on a construction site. I loved building and being part of the process. You got to see your work.
The architecture of change involves the design and construction of new patterns, or the reconceptualization of old ones, to make new, and hopefully more productive, actions possible.
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.
The nineteenth century planted the words which the twentieth century ripened into the atrocities of Stalin and Hitler. There is hardly an atrocity committed in the twentieth century that was not foreshadowed or even advocated by some noble man of words in the nineteenth.
I grew up in a house that was constantly under construction. It's been under construction my whole life. My mom loves interior decor, and my dad loves construction - he loves demolition and building new walls.
I think architecture could be understood as the construction of realities, or the construction of worlds.
During the nineteenth century, the rapid emergence and proliferation of new manufacturing methods and building technologies led to the establishment of polytechnic schools that concentrated on the practicalities of engineering and construction rather than the niceties of stylistic correctness or adherence to established precedent.
By 1970, the first stirrings of the revolt against Modernist orthodoxy in architecture had been felt, although it would be several years more until Postmodernism was widely accepted and made classical motifs permissible in high-style building design for the first time in decades.
I went to art school in Chicago for a year at Columbia College. I had this whole master plan of getting into sustainable development and green architecture and construction, so I wanted to go to business school and then get my masters in construction and development.
At our company, our Design and Construction Consulting Service Team not only helps eliminate the risks inherent in the construction process, they typically save our clients 5% - 10% on overall construction costs. They also help make sure projects come in on time.
I don't know how it could be more stark or clear: this entire society is being dominated by corporate power in a way that may exceed what happened in the late nineteenth century, early twentieth century.
One of the major changes in attitude that occurred in the world of art as we moved from the nineteenth into the twentieth century was that the twentieth century artist became more involved with personal expression than with celebrating exclusively the values of the society or the church. Along with this change came a broader acceptance of the belief that the artist can invent a reality that is more meaningful than the one that is literally given to the eye. I subscribe enthusiastically to this.
I think architecture could be understood as the construction of realities, or the construction of worlds. One of the reasons why architects are often attracted to philosophers, partially, has to do with making sense of the world around us as well as the making of worlds, and in our case, the realities we create can be as real as concrete. These kinds of ideas, of wild imagination, go into the question of how you make a world.
Film is more than the twentieth-century art. It's another part of the twentieth-century mind. It's the world seen from inside. We've come to a certain point in the history of film. If a thing can be filmed, the film is implied in the thing itself. This is where we are. The twentieth century is on film. You have to ask yourself if there's anything about us more important than the fact that we're constantly on film, constantly watching ourselves.
The successful construction of all machinery depends on the perfection of the tools employed; and whoever is a master in the arts of tool-making possesses the key to the construction of all machines... The contrivance and construction of tools must therefore ever stand at the head of the industrial arts.
What I try to do is the art of building, and the art of building is the art of construction; it is not only about forms and shapes and images.
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