The real architecture happens within the works themselves, and that was done by the composer. That’s where the real skill is. In putting together a program, you’re more a curator, but that’s important as well. And then the interpreting of it is where our big job is.
In graduate school, I decide to write my doctoral thesis on how Italian architecture influenced English playwrights of the seventeenth century. I wonder why certain playwrights decided to set their tragedies, written in English, in Italian palaces.
I see the Beijing National Stadium as an architectural project. I accepted Herzog and De Meuron’s invitation to collaborate on the design, and our proposal won the competition. From beginning to end, I stayed with the project. I am committed to fostering relationships between a city and its architecture.
Washington, D.C., has everything that Rome, Paris and London have in the way of great architecture – great power bases. Washington has obelisks and pyramids and underground tunnels and great art and a whole shadow world that we really don’t see.
You don’t have to spend much time in Shanghai before you start to get all existential about the meaning of authenticity. Did you know that Shanghai is building nine satellite towns, each designed to mimic the architecture and culture of a different country?
The general public, formerly profoundly indifferent to everything to do with building, has been shaken out of its torpor; personal interest in architecture as something that concerns every one of us in our daily lives has been very widely aroused; and the broad line of its future development are already clearly discernible.
If I was influenced by anything, it was architecture: structure having to do with logic. If you don’t do it right, the whole thing is going to cave in. In a certain sense, you can carry that to graphic design. Fortunately, however, nobody is going to die if you do it wrong.
A Trump presidency – neutral between dictatorships and democracies, opposed to free trade, skeptical of traditional U.S. defense alliances, hostile to immigration – would mark the collapse of the entire architecture of the U.S.-led post-World War II global order.
In northern architecture – the cathedrals of Europe and all the little churches – the details, the carving of stone, become necessary because the light is not there to help you very much. You have to enrich surfaces. The desert reduces form to its simplest nature. There is no need for gargoyles or flying buttresses in the desert.
For my first apartment, when I was first married, I went to the lumberyard and bought stuff and made couches. My then-wife made cushions. I was really very interested in furniture. I was in school for architecture, but I had to live, and making furniture was different from designing buildings, which I couldn’t do for myself.
When you go to a normal architecture firm they aren’t going to be innovative in terms of their systems. They’re not going to be thinking of the whole lifespan of this project, or how do we document every single light bulb, or every product, so that when a chair breaks in a conference room, we can replace it right away.
Prediction is structurally inseparable from the business of punditry: It creates the essential image of indefatigable authority that is punditry’s very architecture; it flows from that calcified image, and it provides the substance for the story that keeps getting told about the inevitability of American progress.
When you’re in a creative flow with somebody – and I had this back in architecture school – you’re just so passionate about what you’re doing, and if that other person is just as passionate, you’ll be madly in love with them. It’s just that thrill of creating.
I was interested in theatre, and the only experience that I had in high school was as an actor. But when I got in Conservatoire, my teachers would give me a lot of flack because I wasn’t rehearsing my lines; I’d be doing stage management. I was interested in sound. I was interested in architecture. I was interested in every aspect of theatre.
I think people care. If not, why do so many people spend money going on vacations to see architecture? They go to the Parthenon, to Chartres, to the Sydney Opera House. They go to Bilbao… Something compels them, and yet we live surrounded by everything but great architecture.
It was nice to finish up Stanford. I think I always felt that I would be there for four years and graduate, and definitely didn’t want to leave early. A degree was definitely a plus, and I was having a lot of fun in school. But after football, you know, I don’t know. I really did enjoy studying architecture; it was a blast.
I didn’t even have a clear idea of why I wanted to go to Oxford – apart from the fact I had fallen in love with the architecture. It certainly wasn’t out of some great sense of academic or intellectual achievement. In many ways, my education only began after I’d left university.
For me, the excitement in architecture revolves around the idea and the phenomenon of the experience of that idea. Residences offer almost immediate gratification. You can shape space, light, and materials to a degree that you sometimes can’t in larger projects.
Melrose is the finest remaining specimen of Gothic architecture in Scotland. Some of the sculptured flowers in the cloister arches are remarkably beautiful and delicate, and the two windows – the south and east oriels – are of a lightness and grace of execution really surprising.
If I want to make people moved or cry in a film, I figure out what the room looks like, what the people are wearing, what time of day it is, what the light is, how to photograph it, where to put the camera. It involves optics and costume design and set design and architecture.
In Dublin, we open The Dock, our new multidisciplinary innovation R&D and incubation hub where all elements of our innovation architecture come to life. The Dock is a launch pad for our more than 200 researchers to innovate with clients and acquisition partners with a particular focus on artificial intelligence.
The last thing a young artist should do in poetry or any other field is think about what’s in style, what’s current, what are the trends. Think instead of what you like to read, what do you admire, what you like to listen to in music. What do you like to look at in architecture? Try to make a poem that has some of those qualities.
I became a fanatic of the architecture of Le Corbusier and I visited almost all his buildings and read all his books. Only later on did I discover that all the things that impressed me in his books, particular his ideology, he had picked up from Auguste Perret.
I graduated from Wesleyan University with a B.A. in art. I was really headed toward an architecture degree, but when I did the requirements for the major, I realized I was more interested in how people live in buildings than in making buildings. I was more interested in the interactions that happened inside the structures.
I like things that are kind of eclectic, when one thing doesn’t go with another. That’s why I love Rome. The town itself is that way. It’s where Fascist architecture meets classic Renaissance, where the ancient bangs up against the contemporary. It has a touch of everything. That’s my style, and that’s what my work is about.
