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.
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.
Conservation destroys the present. If we are only busy preserving the past, we are not living in the present and unable to look forward. I am against conservation. We should let young people move forward, whether we agree with them or not. We should let new things happen.
I would never live in anything I design. Life and art are different. My life is very precious to me - my art is precious to me. I love designing things for other people, but I don't like designing things for myself.
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.
I would like my architecture to inspire people to use their own resources, to move into the future.
My hand is the extension of the thinking process - the creative process.
Reason is feminine in nature; it can only give after it has received. Of itself it has nothing but the empty forms of its operation.
A reproach can only hurt if it hits the mark. Whoever knows that he does not deserve a reproach can treat it with contempt.
Reading is merely a surrogate for thinking for yourself; it means letting someone else direct your thoughts.
Every man takes the limits of his own field of vision for the limits of the world.
It is a clear gain to sacrifice pleasure in order to avoid pain.
Religion is the masterpiece of the art of animal training, for it trains people as to how they shall think.
Just as one spoils the stomach by overfeeding and thereby impairs the whole body, so can one overload and choke the mind by giving it too much nourishment. For the more one reads the fewer are the traces left of what one has read; the mind is like a tablet that has been written over and over. Hence it is impossible to reflect; and it is only by reflection that one can assimilate what one has read. If one reads straight ahead without pondering over it later, what has been read does not take root, but is for the most part lost.
All the senses, including vision, are extensions of the tactile sense; the senses are specialisations of skin tissue, and all sensory experiences are modes of touching and thus related to tactility. Our contact with the world takes place at the boundary line of the self through specialised parts of our enveloping membrane.
A forest context, and richly moulded architectural space, provide ample stimuli for peripheral vision, and these settings centre us in the very space. The preconscious perceptual realm, which is experienced outside the sphere of focused vision, seems to be just as important existentially as the focused image. In fact, there is medical evidence that peripheral vision has a higher priority in our perceptual and mental system.
These observations suggest that one of the reasons why the architectural and urban settings of our time tend to make us feel like outsiders, in comparison with the forceful emotional engagement of natural and historical settings, is their poverty in the field of peripheral vision…Peripheral vision integrates us with space, while focused vision pushes us out of the space, making us mere spectators.
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.
Time does not pass in architecture, it accumulates.
In a society that celebrates the inessential, architecture can counteract the waste of forms and meanings.
What is aural in music is spatial in architecture.
A squiggle is free and fluid but not random; its curves are related to the geometry of the hand and the arm.
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.
The door handle is the handshake of a building.
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
To make an extraordinary material special, is banal. To heighten one’s awareness of a humble material like brick, is poetic.
Non architects have trouble reading a plan, it’s like trying to envisage the shape of a body by reading footprints in the snow