A Quote by Norman Foster
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.
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Architecture is about aging well, about precision and authenticity. There is much more to the success of a building than what you can see. I'm not suggesting that gestural architecture is always superficial, but solid reasoning has its place.
Architecture is about aging well, about precision and authenticity. There is much more to the success of a building than what you can see. Im not suggesting that gestural architecture is always superficial, but solid reasoning has its place.
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.
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.
I am not surprised that the president of the United States called this a phony scandal. I'm not surprised Secretary Clinton asked, "What difference does it make?" I'm not even surprised that Jay Carney said Benghazi happened a long time ago. I'm just surprised at how many people bought it.
Architects have created this fake separation between creation and execution. You can see it in architecture schools, where the students look down on going to contracts classes.
I am conscious of trying to stretch the boundaries of non-fiction writing. It's always surprised me how little attention many non-fiction writers pay to the formal aspects of their work.
I'll always want to play and share my music with as many people as I can, but the emphasis is more on how do I find a happy place, what's my balance, what's my ideal.
The bones of my architecture are very much related to the structure, to the physical fact of how a building can stand up; it's also related to geometry and a certain understanding of the architecture in which there is a balance between expression and function.
90 percent of American schoolchildren are in public schools. And the emphasis on private schools and charter schools and parochial schools is not unimportant.
It has always surprised me how little attention philosophers have paid to humor, since it is a more significant process of mind than reason. Reason can only sort out perceptions, but the humor process is involved in changing them.
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.
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
How much does your building weigh?
A question often used to challenge architects to consider how efficiently materials were used for the space enclosed.
We ask why there's violence in our school but we've systematically removed God from our schools. Should we be so surprised that schools have become such a place of carnage? Because we've made it a place where we don't want to talk about eternity, life, what responsibility means, accountability.
Architecture is art. I don't think you should say that too much, but it is art. I mean, architecture is many, many things. Architecture is science, is technology, is geography, is typography, is anthropology, is sociology, is art, is history. You know all this comes together. Architecture is a kind of bouillabaisse, an incredible bouillabaisse. And, by the way, architecture is also a very polluted art in the sense that it's polluted by life, and by the complexity of things.
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