natali learns

И у каждого вошедшего в лагерные ворота все разыгрывалось по одному и тому же внутреннему сценарию: с концом неопределенности приходила неопределенность конца. Невозможно было предвидеть, когда же придет конец здешнему существованию и придет ли он вообще.
Латинское слово «finis» имеет, как известно, два значения: конец и цель. Человек, который не в состоянии предвидеть конец этого его временного существования, тем самым не может и направить жизнь к какой-то цели. Он уже не может, как это вообще свойственно человеку в нормальных условиях, ориентироваться на будущее, что нарушает общую структуру его внутренней жизни в целом, лишает опоры.




После того как нам открылся смысл страданий, мы перестали преуменьшать, приукрашать их, то есть «вытеснять» их и скрывать их от себя, например, путем дешевого, навязчивого оптимизма. Смысл страдания открылся нам, оно стало задачей, покровы с него были сняты, и мы увидели, что страдание может стать нравственным трудом, подвигом в том смысле, какой прозвучал в восклицании Рильке: «Сколько надо еще перестрадать!». Рильке сказал здесь «перестрадать», подобно тому как говорят: сколько дел надо еще переделать.

"Произведение оптимизма на знание есть величина постоянная"
Ландау
отсюда
http://civil-engineer.livejournal.com/389792.html#

The fact that no one understands you doesn’t mean you’re an artist.

Illusion is needed to disguise the emptiness within.

Space has always been the spiritual dimension of architecture. It is not the physical statement of the structure so much as what it contains that moves us.

Rationalism is the enemy of art, though necessary as a basis for architecture.

The delusion of entertainment is devoid of meaning. It may amuse us for a bit, but after the initial hit we are left with the dark feeling of desolation.

The heart, not the head, must be the guide.

Vitality is radiated from exceptional art and architecture.

Architecture doesn't come from theory. You don't think your way through a building.

It is the mystery of the creative act that something other than our conscious self takes over.

No wonder the film industry started in the desert in California where, like all desert dwellers, they dream their buildings, rather than design them.

No amount of thought can ever reveal what comes unexpectedly.

The artist likes to seem totally responsible for his work. Often he begins to explain it, to make it appear as if it were a reasonable process.

You have to see a building to comprehend it. Photographs cannot convey the experience, nor film.

The obsession with performance left no room for the development of the intuitive or spiritual impact of space and form other than the aesthetic of the machine itself.

There is an increasing awareness of the interrelatedness of things. We are becoming less prone to accept an immediate solution without questioning its larger implications.

The tourist transports his own values and demands to his destinations and implants them like an infectious disease, decimating whatever values existed before.

But freedom, liberty, is an attribute of the soul and it may exist even when the body is in bondage.

Life deprived of beauty is not worthy of being called human.

It is essential to an architect to know how to see: I mean to see in such a way that the vision is not overpowered by rational analysis.

To work our way towards a shared language once again, we must first learn how to discover patterns which are deep, and capable of generating life.

There is one timeless way of building. It is a thousand years old, and the same today as it has ever been. The great traditional buildings of the past, the villages and tents and temples in which man feels at home, have always been made by people who were very close to the center of this way.

In short, no pattern is an isolated entity. Each pattern can exist in the world only to the extent that is supported by other patterns: the larger patterns in which it is embedded, the patterns of the same size that surround it, and the smaller patterns which are embedded in it.

We define organic order as the kind of order that is achieved when there is a perfect balance between the needs of the parts, and the needs of the whole.

When I first became interested in photography, I thought it was the whole cheese. My idea was to have it recognized as one of the fine arts. Today I don’t give a hoot in hell about that. The mission of photography is to explain man to man and each man to himself. And that is the most complicated thing on earth.



Edward Steichen

“There is a strong identity between the naked skin and the sensation of home. The experience of home is essentially an experience of intimate warmth.”

Juhani Pallasmaa


Good architecture should receive the human visitor, should enable him to experience it and live in it, but it should not constantly talk at him.
Peter Zumthor.

Time does not pass in architecture, it accumulates.
Daivd Leatherbarrow,

In a society that celebrates the inessential, architecture can counteract the waste of forms and meanings.
Peter Zumthor.

What is aural in music is spatial in architecture.
Simon Unwin.

A squiggle is free and fluid but not random; its curves are related to the geometry of the hand and the arm.
Simon Unwin.

As we look, the eye touches, and before we see an object we have already touched it and judged its weight, temperature and surface texture.
Juhani Pallasmaa

The door handle is the handshake of a building.
Juhani Pallasmaa.

Architecture is most appealing with simple lines and clear ideas. A city, on the other hand, becomes alive when it is rich with experiences and surprises. So the paradoxical challenge is to simultaneously create simplicity and variety, diversity and coherence. In other words, to create a city in the building
Bjarke Ingels

To make an extraordinary material special, is banal. To heighten one’s awareness of a humble material like brick, is poetic.
Adam Caruso

Non architects have trouble reading a plan, it’s like trying to envisage the shape of a body by reading footprints in the snow
David Leatherbarrow