architecture

Modern architecture only becomes modern with its engagement with the media.

For us to deem a work of architecture elegant, it is hence not enough that it look simple: we must feel that the simplicity it displays has been hard won, that it flows from the resolution of demanding technical or natural predicament. Thus we call the Shaker staircase in Pleasant Hill elegant because we know--without ever having constructed one ourselves--that a staircase is a site complexity, and that combinations of treads, risers and banisters rarely approach the sober intelligibility of the Sharkers' work. We deem a modern Swiss house elegant because we not how seamlessly its windows have been joined to their concrete walls, and how neatly the usual clutter of construction has been resolved away. We admire starkly simple works that we intuit would, without immense effort, have appeared very complicated. (p 209)

...but there were four things I taught Walter to consider: 1) That it was Cain who built the first City, 2) That there is a true Science in the World called Scientia Umbrarum which, as to the publick teaching of it, has been suppressed but which the proper Artificer must comprehend, 3) That Architecture aims at Eternity and must contain the Eternal Powers: not only our Altars and Sacrifices, but the Forms of our Temples, must be mysticall, 4) That the miseries (If the present Life, and the Barbarities of Mankind, the fatall disadvantages we are all under and the Hazard we run of being eternally Undone, lead the True Architect not to Harmony or to Rationall Beauty but to quite another Game. Why, do we not believe the very Infants to be the Heirs of Hell and Children of the Devil as soon as they are disclos'd to the World? I declare that I build my Churches firmly on this Dunghil Earth and with a full Conception of Degenerated Nature. I have only room to add: there is a mad-drunken Catch, Hey ho! The Devil is dead! If that be true, I have been in the wrong Suit all my Life.

The secret of architectural excellence is to translate the proportions of a dachshund into bricks, mortar and marble.

The character of the architectural forms and spaces which all people habitually encounter are powerful agencies in determining the nature of their thoughts, their emotions and their actions, however unconscious of this they may be.

Architecture is the thoughtful making of space.

It shows a mediocre architect at the top of his game [on the Beetham Tower in Manchester]

Page 158: 'Architecture is team work,' said Sinan. 'Apprenticeship is not.''Why don't you want us to look at each other's drawings? ' Jahan once asked.'Because you'll compare. If you think you are better than the others, you'll be poisoned by hubris. If you think another's better, poisoned by envy. Either way, it is poison.

Cities and landscapes are illustrations of our spiritual and material worth. They not only express our values but give them a tangible reality. They determine the way in which we use or squander our energy, time, and land resources.

Viewed from a certain distance and under good light, even an ugly city can look like the promised land.

Authentic architecture is not the incarnation of the spirit of the age but of the spirit, full stop.

The rigidity of a bottle's form does not affect the fluidity of the liquid it contains.

It was___ow shall I put it?___ painfully solitary building. Let me explain. Say we have a concept. It goes without saying that there will be slight exceptions to that norm. Now, over time these exceptions spread like stains until finally they form a separate concept. To which other exceptions crop up. It was that kind of building, some ancient life form that had evolved blindly, toward who knows what end.

Stop worrying about missed opportunities and start looking for new ones.

I blame what happened next on the door. The one right across the hall from me, a mere three feet away. I love doors. All of them, without exception. Doors lead to things and I__e never met one I haven__ wanted to open. All the same, if that door hadn__ been so old and decorative, so decidedly closed, if a thread of light hadn__ positioned itself with such wretched temptation across its middle, highlighting the keyhole and its intriguing key, perhaps I might have stood a chance; remained twiddling my thumbs until Percy came to collect me. But it was and I didn__; I maintain that I simply couldn__. Sometimes, you can tell just by looking at a door there__ something interesting behind it.

At the beginning, I thought the best Islamic work was in Spain - the mosque in Cordoba, the Alhambra in Granada. But as I learned more, my ideas shifted. I traveled to Egypt, and to the Middle East many times.I found the most wonderful examples of Islamic work in Cairo, it turns out. I'd visited mosques there before, but I didn't see them with the same eye as I did this time. They truly said something to me about Islamic architecture.

What are the dead, anyway, but waves and energy? Light shining from a dead star?That, by the way, is a phrase of Julian's. I remember it from a lecture of his on the Iliad, when Patroklos appears to Achilles in a dream. There is a very moving passage where Achilles overjoyed at the sight of the apparition _ tries to throw his arms around the ghost of his old friend, and it vanishes. The dead appear to us in dreams, said Julian, because that's the only way they can make us see them; what we see is only a projection, beamed from a great distance, light shining at us from a dead star_Which reminds me, by the way, of a dream I had a couple of weeks ago.I found myself in a strange deserted city _ an old city, like London _ underpopulated by war or disease. It was night; the streets were dark, bombed-out, abandoned. For a long time, I wandered aimlessly _ past ruined parks, blasted statuary, vacant lots overgrown with weeds and collapsed apartment houses with rusted girders poking out of their sides like ribs. But here and there, interspersed among the desolate shells of the heavy old public buildings, I began to see new buildings, too, which were connected by futuristic walkways lit from beneath. Long, cool perspectives of modern architecture, rising phosphorescent and eerie from the rubble.I went inside one of these new buildings. It was like a laboratory, maybe, or a museum. My footsteps echoed on the tile floors.There was a cluster of men, all smoking pipes, gathered around an exhibit in a glass case that gleamed in the dim light and lit their faces ghoulishly from below.I drew nearer. In the case was a machine revolving slowly on a turntable, a machine with metal parts that slid in and out and collapsed in upon themselves to form new images. An Inca temple_ click click click_ the Pyramids_ the Parthenon.History passing beneath my very eyes, changing every moment.'I thought I'd find you here,' said a voice at my elbow.It was Henry. His gaze was steady and impassive in the dim light. Above his ear, beneath the wire stem of his spectacles, I could just make out the powder burn and the dark hole in his right temple.I was glad to see him, though not exactly surprised. 'You know,' I said to him, 'everybody is saying that you're dead.'He stared down at the machine. The Colosseum_ click click click_ the Pantheon. 'I'm not dead,' he said. 'I'm only having a bit of trouble with my passport.''What?'He cleared his throat. 'My movements are restricted,' he said.'I no longer have the ability to travel as freely as I would like.'Hagia Sophia. St. Mark's, in Venice. 'What is this place?' I asked him.'That information is classified, I'm afraid.'1 looked around curiously. It seemed that I was the only visitor.'Is it open to the public?' I said.'Not generally, no.'I looked at him. There was so much I wanted to ask him, so much I wanted to say; but somehow I knew there wasn't time and even if there was, that it was all, somehow, beside the point.'Are you happy here?' I said at last.He considered this for a moment. 'Not particularly,' he said.'But you're not very happy where you are, either.'St. Basil's, in Moscow. Chartres. Salisbury and Amiens. He glanced at his watch.'I hope you'll excuse me,' he said, 'but I'm late for an appointment.'He turned from me and walked away. I watched his back receding down the long, gleaming hall.

I__ relieved to seethat even brilliant physicists make mistakes.__ohler looked over. __hat do you mean?___hoever wrote that note made a mistake. That column isn__ Ionic. Ionic columns are uniform in width. That one__ tapered. It__ Doric__he Greek counterpart. A common mistake.__ohler did not smile. __he author meant it as a joke, Mr. Langdon. Ionic means containing ions__lectrically charged particles. Most objects contain them.