Discover the most popular and inspiring quotes and sayings on the topic of Structures. Share them with your friends on social media platforms like Facebook, Twitter, or your personal blogs, and let the world be inspired by their powerful messages. Here are the Top 100 Structures Quotes And Sayings by 85 Authors including Ludwig Mies Van Der Rohe,Spiro Kostof,Annabelle Selldorf,Tadao Ando,Frank Lloyd Wright for you to enjoy and share.
Our utilitarian structures will mature into architecture only when, through their fulfillment of function, they become carriers of the will of the age.
Architecture is a social act and the material theater of human activity.
The secret of good architecture is having more than meets the eye.
When I design buildings, I think of the overall composition, much as the parts of a body would fit together. On top of that, I think about how people will approach the building and experience that space.
Architecture is essentially Human; it is the Human spirit manifesting itself. For when a Man builds, there, you've got him; you know exactly what, who and how that Man is.
Masterpieces of beauty, craftsmanship, and stability, all erected
Architecture and urban design, both in their formal and spatial aspects, are seen as fundamentally configurational in that the way the parts are put together to form the whole is more important than any of the parts taken in isolation.
Architecture has recorded the great ideas of the human race. Not only every religious symbol, but every human thought has its page in that vast book.
It was stated, ... that the value of architecture depended on two distinct characters:
the one, the impression it receives from human power; the other, the image it bears of the natural creation.
A building is not a sentence, which in principle has the ability to match and express a thought closely. It is not linear, like language. Compared to the fluidity of words, a building is atrociously clumsy, but it can be lived and inhabited as books cannot be.
Supply and demand regulate architectural form.
When circumstances defy order, order should bend or break: anomalies and uncertainties give validity to architecture.
I don't like building, I'm not a carpenter, I don't like constructions particularly and things like that, but placements and the kinds of psychological weight that different materials have is pretty interesting to me.
A truly great structure, one that is meant to stand the tests of time, never disregards its environment. A serious architect takes that into account. He knows that if he wants presence, he must consult with nature.
Architecture is like a mythical fantastic. It has to be experienced. It can't be described. We can draw it up and we can make models of it, but it can only be experienced as a complete whole.
Architecture is restricted to such a limited vocabulary. A building is either a high-rise or a perimeter block or a town house.
constructions, and I
From a sequence of these individual patterns, whole buildings with the character of nature will form themselves within your thoughts, as easily as sentences.
Architecture is a rare collective profession: it's always exercised by groups. There is an essential modesty, which is a complete contradiction to the notion of a star.
The difference between architecture and building is that the former expresses an idea, while the latter is merely a structure built on economical principles. The value of matter depends solely on its capacities of expressing ideas.
Structures are never monolithic.
Our lives are complex; our emotions are complex; our intellectual desires are complex. I believe that architecture ... needs to mirror that complexity in every single space that we have, in every intimacy that we possess.
Architecture which enters into a symbiosis with light does not merely create form in light, by day and at night, but allow light to become form.
A lot of my work is about questioning the stability and permanence of architecture, and, in turn, the stability of society.
Architecture is a science arising out of many other sciences, and adorned with much and varied learning; by the help of which a judgment is formed of those works which are the result of other arts.
Architecture is the learned game; correct and magnificent of forms assembled in the light
Tension is an interesting quality - and architecture must have it. There should be elements of the inexplicable, the mysterious, and the poetic in something that is perfectly rational.
Furthermore, order is a necessary condition for making a structure function. A physical mechanism, be it a team of laborers, the body of an animal, or a machine, can work only if it is in physical order.
A building should appear to grow easily from its site and be shaped to harmonize with its surroundings if Nature is manifest there.
The purpose of architecture is to transmute the emptiness into space, that is into something which our minds can grasp as an organized unity.
I see architecture as a form of communication over time.
An erect building is a shackled slave. I hear the mutinous grumbling of vertical buildings. I hear the grinding frustration of those compelled against their will to remain standing. A building is energy crucified against space and time.
They are structures that we build every time we engage in a thought that's just a little bit higher than a thought we had a moment before, or an activity that's just a little bit more noble than the activity we engaged in a moment before.
A failed structure provides a counterexample to a hypothesis and shows us incontrovertibly what cannot be done, while a structure that stands without incident often conceals whatever lessons or caveats it might hold for the next generation of engineers.
When I write now I do not invent situation, characters, or actions, but rather structures and discursive forms, textual groupings which are combined according to secret affinities among themselves, as in architecture or the plastic arts.
The chief characteristics of the tall building is that it is lofty. It must be every inch a proud and soaring thing, rising in sheer exultation so that from bottom to top it should be a unit without a single dissenting line.
The measure of its nobility and its continuity is its depth of feeling and its sincerity. And if it has that quality, it stands.
"Toward a New architecture" July 14, 1957
Architecture is not about designing somehting from a free, fanciful idea. It is about discovering and establishing one's own principle, some kind of regularity - finding an individual formula to apply to one's buildings.
The building blocks of Life are made up of shapes and spaces.
I think of architecture as language, and I look within the intra-communication between architects.
My architecture is the architecture of survival.
My interest has always been in an architecture which reflects the modernity of our epoch as opposed to the rethinking of historical references. My work deals with what is happening now - our techniques and materials, what we are capable of doing today.
Architecture struck me between the eye and the eyeball.
Architecture is invention.
Architecture arises out of our need to shelter the human animal in a spatial environment and to enclose the social animal in a group space. In this sense architecture serves our institutions and expresses the values of our culture.
Good architecture is still the difficult, conscientious, creative, expressive planning for that elusive synthesis that is a near-contradiction in terms: efficiency and beauty.
Architecture is the thoughtful making of space.
Architecture is shaped by human emotions and desires, and then becomes a setting for further emotions and desires. It goes from the animate and inanimate and back again. For this reason it is always incomplete, or rather is only completed by the lives in and around it. It is background.
The events of human life, whether public or private, are so intimately linked to architecture that most observers can reconstruct nations or individuals in all the truth of their habits from the remains of their monuments or from their domestic relics.
I'm not a builder of buildings, I'm a builder of collections.
My architecture tends to be legible, light and flexible. You can read it. You look at a building, and you can see how it is constructed. I put the structure outside.
I am as much interested in the smallest detail as in the whole structure.
Architecture is involved with the world, but at the same time it has a certain autonomy. This autonomy cannot be explained in terms of traditional logic because the most interesting parts of the work are non-verbal. They operate within the terms of the work, like any art.
In order to design buildings with a sensuous connection to life, one must think in a way that goes far beyond form and construction.
Architecture is the reaching out for the truth.
I don't think that architecture is only about shelter, is only about a very simple enclosure. It should be able to excite you, to calm you, to make you think.
When you design a building, you start from a general philosophy, and you come down, and you start from detail and come up. Only the theoretical architect believes that you can make the concept and then sometime, somebody will come to build it.
I thrive in structure. I drown in chaos.
In pure architecture the smallest detail should have a meaning or serve a purpose.
When drawings of the main buildings I have designed in the last five years are juxtaposed, the fact that they all involve the pursuit of certain configurations is obvious to anyone.
My preference for clear structures is the result of my desire - perhaps illusory - to keep track of things and maintain my grip on the world.
Order, cleanliness, seemliness make a structure that is half support, half ritual, and - if it does not create it - maintains decency.
Architecture and building is about how you get around the obstacles that are presented to you. That sometimes determines how successful you'll be: How good are you at going around obstacles?
Our concepts or ideas form the mental housing in which we live. We may end up proud of the structures we have built. Or we may believe that they need dismantling and starting afresh. But first, we have to know what they are.
We must be as familiar with the functions of our building as with our materials. We must learn what a building can be, what it should be, and also what it must not be ...
And a building must be like a human being. It must have a wholeness about it, something that is very important.
Remember that we sometimes demand explanations for the sake not of their content, but of their form. Our requirement is an architectural one; the explanation a kind of sham corbel that supports nothing.
A proper building grows naturally, logically, and poetically out of all its conditions.
Architecture is not a private affair; even a house must serve a whole family and its friends, and most buildings are used by everybody, people of all walks of life. If a building is to meet the needs of all the people, the architect must look for some common ground of understanding and experience.
Structure influences behavior. Design spaces that make you feel "you are welcome here and that you came to the right place."
Working 9 to 5 is structure. But tying lines together all hours of day is structure at its best performing magic.
I don't think of form as a kind of architecture. The architecture is the result of the forming. It is the kinesthetic and visual sense of position and wholeness that puts the thing into the realm of art.
We need to rediscover the essence of the meaning of 'the use.' Architecture is, above all, here for a better living. Every gesture, every shape must be justified by various reasons that would reinforce their reason to be, their use, and will give more sense to their beauty.
One must be able to say at all times
instead of points, straight lines, and planes
tables, chairs, and beer mugs
All those involved in the construction of an architectural design, from the architect to the builder, have an attachment to the architecture, although it's difficult to quantify the attachment.
Dude, my hair is like an architectural structure. It's like ... a building.
I think architecture is one of the predominant orderings of social space. It can construct and contain our experiences. It defines our days and nights. It literally puts us in our place.
The notion of buildings that speak helps us to place at the very centre of our architectural conundrums the question of the values we want to live by - rather than merely of how we want things to look.
One begins to think with that new building block, rather than with littler pieces. And finally, the things which seem like elements dissolve, and leave a fabric of relationships behind, which is the stuff that actually repeats itself, and gives the structure to a building or a town.
It's time for architecture to do things again, not just represent things.
There is an idea, the basis of an internal structure, expanded and split into different shapes or groups of sound constantly changing in shape, direction, and speed, attracted and repulsed by various forces.
I think of architecture as a piece of clothing to wrap around human beings
Consistent physical structures can allow unbounded intuitive clarity.
For a house to be successful, the objects in it must communicate with one another, respond to and balance one another
Nothing is as dangerous in architecture as dealing with separated problems. If we split life into separated problems we split the possibilities to make good building art.
Entropy is the price of structure.
Architects in the past have tended to concentrate their attention on the building as a static object. I believe dynamics are more important: the dynamics of people, their interaction with spaces and environmental condition.
All architecture is shelter, all great architecture is the design of space that contains, cuddles, exalts, or stimulates the persons in that space.
Architecture and architectural freedom are above all a social issue that must be seen from inside a political structure, not from outside it,
In some cases there are ways of thinking about what an architectural program produces - interior and exterior - that is not necessarily directed by an economic requirement, but is a diagram based on human actions, selfish or otherwise.
I'm not mainly interested in what buildings mean as symbols or vehicles for ideas.
In order for architecture to experience its ongoing evolution as a language, there has to be a lot of adjusted copies between how architects draw, think, engage bylaws and constraints.
Architecture is to make us know and remember who we are.
I have come to the conviction that once one embarks on a concept for a building, this concept has to be exaggerated and overstated and repeated in every part of its interior so that wherever you are, inside or outside, the building sings with the same message.
The elegance and functionality of the structure lay out before him, as beautiful and simple and effective as a leaf or a root cluster. To have something so much like the fruits of evolution, but designed by human minds, was
I am finally getting the chance to build large structures and break preconceptions that my designs are just sculptures for people to be in. But my work always comes down to the human scale.
I just wondered how things were put together.
The structures of growth
Constructing a strong and beautiful sentence is the highest form of architecture. Because whereupon seeing a beautiful building one may think, but to read a sentence one has to think.
You employ stone, wood and concrete, and with these materials you build houses and palaces. That is construction. Ingenuity is at work.
But suddenly you touch my heart, you do me good, I am happy and I say: This is beautiful. That is Architecture. Art enters in.