A Quote by Martin Filler
One of the most persistent yet elusive dreams of the Modern Movement in architecture has been prefabrication: industrially made structures that can be assembled at a building site.
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The financial benefits of prefabrication have never been as large as its advocates predicted, for although some labor costs can be reduced by machine manufacturing, on-site assembly of any building still depends to some extent on the handwork of skilled craftsmen.
When we talk of architecture, people usually think of something static; this is wrong. What we are thinking of is an architecture similar to the dynamic and musical architecture achieved by the Futurist musician Pratella. Architecture is found in the movement of colours, of smoke from a chimney and in metallic structures, when they are expressed in states of mind which are violent and chaotic.
My ambition has always been to reduce a building's support to a minimum. The more we diminish supporting structures, the more audacious and important the architecture is. That has been my life's work.
Personally, one of the greatest sources of inspiration for my work has been architecture. I've had the chance to see so many exquisite structures, whether they are historical monuments or modern commercial premises.
All important architecture of the last century was strongly influenced by political systems. Look at the Soviet system, with its constructivism and Stalinism, Weimer with its Modern style, Mussolini and, of course, the Nazis and Albert Speer's colossal structures. Today's architecture is subservient to the market and its terms. The market has supplanted ideology. Architecture has turned into a spectacle. It has to package itself and no longer has significance as anything but a landmark.
Iran's most formidable modern leader, Reza Shah Pahlavi, was obsessed with the idea of building a steel mill, but in 1941, soon after he assembled all the components, Allied armies invaded Iran, and the project had to be abandoned.
Copy is not written. If anyone tells you ‘you write copy’, sneer at them. Copy is not written. Copy is assembled. You do not write copy, you assemble it. You are working with a series of building blocks, you are putting the building blocks together, and then you are putting them in certain structures, you are building a little city of desire for your person to come and live in.
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'd been to Stourhead and was inspired by the perfect parity between architecture and art; in fact, the architecture is the art. I wrote a piece called 'Not Sculpture Park,' because most of these things become car parks for bought-in sculpture. The artists should be working with the site, not just plonking pieces down.
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.
Moller, in his Essay on Architecture, taught that the building which was fitted accurately to answer its end would turn out to be beautiful, though beauty had not been intended. I find the like unity in human structures rather virulent and pervasive.
Traditional society was more like a set of concentric circles of meaningful structures, while modern man must learn how to find meaning in many structures to which he is only marginally related. In the village, language and architecture and religion and work and family customs were consistent with one another, mutually explanatory and reinforcing. To grow into one implied a growth into others.
Architecture is bound to situation. And I feel like the site is a metaphysical link, a poetic link, to what a building can be.
Concepts differentiate architecture from mere building...A bicycle shed with a concept is architecture; a cathedral without one is just a building.
I want to try to come away from that one directional, clear rectangular form. It's not used because it's the most beautiful form; it's just the practical thing. That's why our TVs are rectangles. Even in modern architecture, they want us to believe, "That's the nicest, most beautiful thing." I love modern architecture, but actually it's that they cannot afford amorphous shapes or ornaments.
Good information architecture enables people to find and do what they came for. Great information architecture takes find out of the equation: the site behaves as the visitor expects. Poor or missing information architecture neuters content, design, and programming and devalues the site for its owners as well as the audience it was created to serve. It’s like a film with no director. The actors may be good, the sets may be lovely, but audiences will leave soon after the opening credits.
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