Jaipur is the capital of Rajasthan and, in my opinion, the best place to visit. It is an amazing hub of history. It’s called the Pink City because all the architecture has a hint of pink in the stones used. It’s an amazing stop for all kinds of food but also for history and shopping. It has a little bit of everything.
I read whenever possible, and I buy books all the time, sometimes online, but mostly from bookshops. I love literature. If you want to understand art, it’s important to understand what is also happening in literature, in music, in science, in architecture.
I got into architecture via fine arts, and I was a sculptor myself, and I have always involved artists in my projects. When I say ‘involved,’ I mean I always bring artists in at the beginning projects before they’re built and say, ‘Will you do a room? Will you do a sculpture floating in mid-air? Will you make a chimney? Will you do something?’
Being interested in other fields and meeting experts outside entertainment – whether it’s a two-hour conversation with John Nash that turns into ‘A Beautiful Mind’ or talking to people in architecture or fashion, CIA directors or Nobel laureates – has given me a better sense of which ideas feel authentic and new.
Grenfell, the building set on fire with the help of its own face, is a scene of a complex injustice: one that is moral, economic, political, and aesthetic. Not only was the cladding unsafe, it was ugly; not only was it ugly, it was untrue both to the architecture of the building it covered and untrue to its responsibility to human safety.
I think it is widely agreed that Carl Steinitz, over the 50 years he taught at Harvard, has been one of the most important figures in influencing the theory and practice of landscape architecture and the application of computer technology to planning.
Twenty-five years after the fall of the Berlin Walland the lifting of the iron curtain, troublespots abound: the Middle East and parts of Africa lack a stable regional security architecture; in east Asia, nationalist tendencies and competing ambitions are threatening peace and stability in the region and beyond.
One summer, when I was on break from architecture school in Tijuana, my aunt gave me a summer job cleaning up and peeling garlic, and I got to see her in her element. She was so passionate and such a good teacher, I decided to quit architecture school and go to culinary school in Los Angeles.
I remember coming back to the U.K. after spending five months in Charlotte for ‘Homeland,’ and I just found myself just wandering around London. There’s nothing like it – the buildings, the architecture, the sense of history, the sense of culture – there really is nothing like it.
The truth be told, the World Trade Center was neither a very good work of architecture nor a very successful piece of urbanism. Its shortcomings were somewhat mitigated by the westward and southward expansion of the World Financial Center and Battery Park City during the 1980s.
You look at the steamboat, the railroad, the car, the airplane – not all of these were invented in the Anglo-American world, but they were popularized and extended by it. They were made possible by the financial architecture, the capital intensive operations invented and developed by the Anglo-Americans.
When I left the work world, I started designing my dream house. I dived into architecture and bought seven vacant lots. My plan was to build one house, move in, and build the next. If the next was better, I’d move in and sell the previous one – so on and so forth.
The thing I love about Rome is that is has so many layers. In it, you can follow anything that interests you: town planning, architecture, churches or culture. It’s a city rich in antiquity and early Christian treasures, and just endlessly fascinating. There’s nowhere else like it.
The history of the Jews has been written overwhelmingly by scholars of texts – understandably given the formative nature of the Bible and the Talmud. Seeing Jewish history through artifacts, architecture and images is still a young but spectacularly flourishing discipline that’s changing the whole story.
The problem of architecture has always been the same throughout time. Its authentic quality is reached through its proportions, and the proportions cost nothing. In fact, most of them are proportions among things, not the things themselves. Art is almost always a question of proportions.
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.
What makes ‘The Marriage of Souls’ such a wonderful book is Collins’s intricate reconstruction of the late eighteenth-century world. Simplicity and philosophy are the hallmarks of eighteenth-century art and architecture. The classically pure lines look deceptively simple and unburdened by heavy symbolism or imagery.
I’ve always thought that design can have equal importance to the idea of internal architecture. Professionally, things can be very dogmatic – you do the architecture, someone else does the interiors, someone else does the furniture, the fabric, etc. But I think design is all-encompassing.
If you have an architecture of control, let’s say, where you select in advance everything that’s going to affect your life, then you’re going to live in a very small world that will have an echo chamber feature… Pandora, which I love, actually feeds into that.
There’s no architect who doesn’t want to build a library – and I am no different. With so much scrutiny now attached to reading – because of technology and how we approach it as a social activity – that is a very exciting area in architecture.
Society understands the architecture of academia and knows there are relevant qualifications in different fields, and the media accepts the idea of specialisations and accords greater respect to those with greater expertise. With one exception: climate science.
The World’s Fair was the precursor to theme parks like Disneyworld, and the really sort of cheap, superficial promotional architecture that you see everywhere in the U.S. I think there’s a danger when you start creating a civilisation that isn’t meant to last.
As a viewer, that’s work I respond to – work that I know is singular in some way. If I’m being challenged by something on screen, if I don’t quite know why it’s happening, I want to know I can do the work of pulling it apart and that there’ll be something satisfactory about it. If the architecture is sound, you can be lyrical in execution.
A pool at the edge of the ocean is the simplest geometry, yet you feel connected to the sea. In a forest with the mountains in the background, you also feel the connection to nature, yet it’s a very complex geometry. I think architecture is about controlling these feelings.
I started collecting aerial photographs of Native American and South Pacific architecture; only the African ones were fractal. And if you think about it, all these different societies have different geometric design themes that they use. So Native Americans use a combination of circular symmetry and fourfold symmetry.
