A Quote by Renzo Piano
Light has not just intensity, but also a vibration, which is capable of roughening a smooth material, of giving a three-dimensional quality to a flat surface.
Related Quotes
... Rembrandt is not a painter at all. He is a creator, who creates his beings, three dimensional living beings, on a two-dimensional flat surface which acts as a mute, and enforces silence on them.
I love the fact that there are more and more young people out there who still want to make a flat two-dimensional surface come alive with three dimensional magic.
There are many things one thinks about in a painting. Often, it's how to handle your chosen medium and how to best reveal the light in a three-dimensional form on a two-dimensional surface.
Consider paint a film of light reflecting/absorbing material, and a colored paint a material which gives a particular, characteristic transmission of light via differential absorption and reflection. Call this reflected quality 'luminance' and measure it in millilamberts. This measure is as real and present as height, breadth, depth; and I find the phenomenon equally sumptuous and convincing. . . . Painted light, not color, not form, not perspective, or line, not image, or words, or equations, is painting. I make paintings which do not represent light, they are light.
Most architects think in drawings, or did think in drawings; today, they think on the computer monitor. I always tried to think three dimensionally. The interior eye of the brain should be not flat but three dimensional so that everything is an object in space. We are not living in a two-dimensional world.
Since I found that one could make a case shadow from a three-dimensional thing, any object whatsoever - just as the projecting of the sun on the earth makes two dimensions - I thought that by simple intellectual analogy, the fourth dimension could project an object of three dimensions, or, to put it another way, any three-dimensional object, which we see dispassionately, is a projection of something four-dimensional, something we are not familiar with.
I would say there are three important things about graphene. It's two-dimensional, which is the best possible number for studying fundamental physics. The second thing is the quality of graphene, which stems from its extremely strong carbon-carbon bonds. And finally, the system is also metallic.
Like wind-- In it, with it, of it. Of it just like a sail, so light and strong that, even when it is bent flat, it gathers all the power of the wind without hampering its course. Like light-- In light, lit through by light, transformed into light. Like the lens which disappears in the light it focuses. Like wind. Like light. Just this--on these expanses, on these heights.
If a shadow is a two-dimensional projection of the three-dimensional world, then the three-dimensional world as we know it is the projection of the four-dimensional Universe.
I believe that water will one day be employed as fuel, that hydrogen and oxygen which constitute it, used singly or together, will furnish an inexhaustible source of heat and light, of an intensity of which coal is not capable.
One thing is sure - we have to transform the three-dimensional world of objects into the two-dimensional world of the canvas.. ..To transform three into two dimensions is for me an experience full of magic in which I glimpse for a moment that fourth dimension which my whole being is seeking.
Genes are effectively one-dimensional. If you write down the sequence of A, C, G and T, that's kind of what you need to know about that gene. But proteins are three-dimensional. They have to be because we are three-dimensional, and we're made of those proteins. Otherwise we'd all sort of be linear, unimaginably weird creatures.
Going from the written, flat word to the three-dimensional object, that was one of the more enriching things that I've done.
Astrologers are influenced by theosophy, so they say, "That is very simple, it is just vibration!" ... But what is vibration? They say it is light energy, perhaps electricity, they are not quite informed. At all events the vibrations that could influence us have never been seen, so it remains just a word.
One law of energy is this: energy of a certain quality or vibration tends to attract energy of a similar quality and vibration.
I see the carpet reflecting that narratological structure of the storytelling, with Scheherazade as the outside frame story on the outside, with the stories woven on the inside. It's also demonstrative of the infinity of it, with no beginning and no end. The carpet is also a kind of metonym for cinema, this idea that the flat surface carries a terrific depth of imaginative field while remaining totally flat.
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