Architecture Quotes - page 16
I've spent a lot of very happy times in Edinburgh as a result of playing virtually every festival since 1996. It's also a beautiful city in its own right, is walkable, within sight of the sea and mountains - and was too far north for the Luftwaffe to have done any damage, hence the spectacularly beautiful architecture.
Marcus Brigstocke
It was the tragedy of modernist artists, Left or Right, that the much more effective political commitment of their own mass movements and politicians - not to mention their adversaries - rejected them. With the partial exception of Futurist-influenced Italian fascism, the new authoritarian regimes of both Right and Left preferred old-fashioned and gigantic monumental buildings and vistas in architecture, inspirational representations in both painting and sculpture, elaborate performances of the classics on stage, and ideological acceptability in literature.
Eric Hobsbawm
It creeped him out, the way it just sat there looking so plastic and harmless among the old-time good intentions of all that downtown architecture, no more sinister than a chain motel by the freeway, and yet behind its neutral drapes and far away down its fluorescent corridors it was swarming with all this strange alternate cop history and cop politics-cop dynasties, cop heroes and evildoers, saintly cops and psycho cops, cops too stupid to live and cops too smart for their own good-insulated by secret loyalties and codes of silence from the world they'd all be given to control, or, as they liked to put it, protect and serve.
Thomas Pynchon
We built pyramids before Donald Trump even knew what architecture was. We taught philosophy and astrology [sic] and mathematics before Socrates and them Greek homos ever got around to it...Do some cracker come and tell you, ‘Well my mother and father blood go back to the Mayflower,' you better hold your pocket. That ain't nothing to be proud of, that means their forefathers was crooks.
Al Sharpton
He wondered why he stayed with her. Just pure laziness, he guessed. He didn't want to go through the emotional turmoil of leaving her. In spite of himself he'd worry about her and it was too much trouble. He'd need another woman right away and that took a lot of talking and arguing and persuading. It was different just to lay a girl but he would need a woman around, and that was the difference. You got used to one and it was less trouble. [...]
But there was another reason too. She loved him. She really did. And he knew it. And you can't leave a thing like that. It's a structure and it has an architecture, and you can't leave it without tearing off a piece of yourself. So if you want to remain whole you stay no matter how much you may dislike staying. Juan was not a man who fooled himself very much.
John Steinbeck
When I thought of myself as a writer in the 1960s, I questioned what made me go from the left to the right margin, from one page to another. As I thought of the space I was also thinking about time. Then I thought: ‘Why am I limiting myself to a piece of paper when there's a world out there?' I focused on performance in the early 1970s because the common language of the time was ‘finding oneself.' In a time like that, what else could I do but turn in on myself and then go from me to you? Photography, film, and video were sidesteps–spaces in front of you–whereas I was more interested in the space where you were in the middle. Now I'm involved with peopled spaces–that's design and architecture.
Vito Acconci
Vito Acconci's extraordinary career-poetry, art, architecture: a sort of triathlon of the arts-began in the Bronx, where as an aspiring author of seven years he wrote stories about cowboys and athletes. At his Catholic college, he published sexy stuff about priests and nuns that got the school magazine banned for three issues running. He went on to write fiction in the Iowa Writers' Workshop. But when he came back to New York in the early '60s, something changed, and he began writing poems. Highly conceptual constructions, they did not tell stories, express feelings, or evoke a fictional world. They were not representational. Maybe you could call them presentational: this is a word, this is a sentence, you are reading.
Shelley Jackson
Literary criticism should arise out of a debt of love. In a manner evident and yet mysterious, the poem or the drama or the novel seizes upon our imaginings. We are not the same when we put down the work as we were when we took it up. To borrow an image from another domain: he who has truly apprehended a painting by Cézanne will thereafter see an apple or a chair as he had not seen them before. Great works of art pass through us like storm-winds, flinging open the doors of perception, pressing upon the architecture of our beliefs with their transforming powers. We seek to record their impact, to put our shaken house in its new order. Through some primary instinct of communion we seek to convey to others the quality and force of our experience. We would persuade them to lay themselves open to it. In this attempt at persuasion originate the truest insights criticism can afford.
George Steiner
Mary's treatment of respectable and law-abiding people who had no favors to ask, and were reasonably confident of getting to heaven by the regular judgment, without expense, rankled so deeply that three hundred years later the puritan reformers were not satisfied with abolishing her, but sought to abolish the woman altogether as the cause of all evil in heaven and on earth. The puritans abandoned the New Testament in order to go back to the beginning, and renew the quarrel with Eve. This is the Church's affair, not ours, and the women are competent to settle it with Church or State, without help from outside; but honest tourists are seriously interested in putting the feeling back into the dead architecture where it belongs.
Henry Adams
The spire is the simplest part of the romanesque or gothic architecture, and needs least study in order to be felt. It is a bit of sentiment almost pure of practical purpose. It tells the whole of its story at a glance, and its story is the best that architecture had to tell, for it typified the aspirations of man at the moment when man's aspirations were highest.
Henry Adams
We can train ourselves to respect our feelings, and to discipline (transpose) them into a language that matches those feelings so they can be shared. And where that language does not yet exist, it is our poetry which helps to fashion it. Poetry is not only dream or vision, it is the skeleton architecture of our lives.
Audre Lorde
We wish to see churches and Christian Chinese presided over by pastors and officers of their own countrymen, worshipping the true God in the land of their fathers, in the costume of their fathers, in their own tongue wherein they were born, and in edifices of a thoroughly Chinese style of architecture.
James Hudson Taylor
