A Quote by Santiago Calatrava
Bridges represent archetypal problems. They are artifacts that bring you across or around an obstacle. So they have an unbelievable force.
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Buildings for me represent opportunities of agency, transformation, and storytelling. They are not just artifacts. There is this big tradition of buildings-as-artifacts - constructed artifacts - but for me they are these incredible sites of negotiation.
Bridges are burning all around us; bridges to responses that might have mitigated the already brutal (and just beginning) ravages of Peak Oil; bridges to reduce the likelihood of war and famine; bridges to avoid our selectively chosen suicide; bridges to change at least a part of energy infrastructure and consumption; bridges to becoming something better than we are or have been; bridges to non-violence. Those bridges are effectively gone.
There are two kinds of comics; there are the ones who build bridges, and then there are the people who walk across the bridges as though they built them. The bridge builders are few and far between.
When you put a great big obstacle (your feeling of unworthiness), in front of a running stream, it's not like it's going to stop the flow of the divine force. The divine force will just go around your unworthiness and flow someplace else.
Let us build bridges, my friends, build bridges to human dignity across that gulf that separates black America from white America.
Feeling unworthy is like putting a huge obstacle into the God force, into the life force which is everywhere.
I guess whenever I'm in the paper, it's dealing with bridges falling apart, budget problems, pension crises - and saying we have to tackle these problems.
I have transported many, thousands; and to all of them, my river has been nothing but an obstacle on their travels. They travelled to seek money and business, and for weddings, and on pilgrimages, and the river was obstructing their path, and the ferryman's job was to get them quickly across that obstacle. But for some among thousands, a few, four or five, the river has stopped being an obstacle, they have heard its voice, they have listened to it, and the river has become sacred to them, as it has become sacred to me.
Barack Obama and his followers and his adorers have decided he can bring us all together, that he can reach across aisles, he can reach across oceans. Who knows, he might be able to reach across galaxies, bring people together, to find common ground from the mountaintop, and so, my friends.
The river itself portrays humanity precisely, with its tortuous windings, its accumulation of driftwood, its unsuspected depths, and its crystalline shallows, singing in the Summer sun. Barriers may be built across its path, but they bring only power, as the conquering of an obstacle is always sure to do. Sometimes when the rocks and stone-clad hills loom large ahead, and eternity itself would be needed to carve a passage, there is an easy way around. The discovery of it makes the river sing with gladness and turns the murmurous deeps to living water, bright with ripples and foam.
The issue that's really, really concerning is that you have eight million prime age men who have dropped out of the labor force, folks who aren't even looking for work. You can create job growth all day, but unless you start to do the things that bring those labor force dropouts back into the job market, you're not going to solve the problems.
It was so cool taking a helicopter ride around scenic Lapland. In Lapland there are more reindeer then people, unbelievable snowcapped mountains and the most unbelievable skyline.
When you flow like water you bring all of your talents and resources to your creative work... Flow around every obstacle you encounter, including any you've erected yourself.
It's unbelievable. I'm still trying to grasp the whole idea that I am an actually a Stanford Cardinal now. I'm actually representing an alumni that's network is around the world, and the people there are unbelievable.
Full federal funding for presidential libraries should bring with it new rules of control over papers and artifacts.
I personally have never trusted museums. ... It is because museums, broadly speaking, live off of the art and artifacts of others, often art and artifacts that have been obtained by dubious means. But they also manipulate whatever it is they present to the public; hence, until Judy Chicago, in the 1970s ... few women artists were hung in any major museum. Indian artists? Artifacts only, please. Black artists? Something musical, maybe? And so forth.
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