I just think structure can make a book feel so much bigger. It's the architecture. You could use flimsy materials if you wanted to, even, but it could still feel big.
When you see all of the pandas in this movie [Kung Fu Panda 3], they are rolling because that is exactly what they do. Not only were we able to watch the pandas play but we had free range to walk around and get a feel for the architecture and get a sense of where they lived ,so there's a lot of firsthand exploration.
There are a range of women not represented in the Western fairy tale tradition. Husband-beaters are particularly interesting, as well as male pederasts. Children are often told in The Arabian Nights, "This man likes to abduct boys, be careful of him." These issues are explored through the medium of the stories, but actually the architecture of the book is such that there are many examples of women who are loyal, brave, devoted - especially to their lovers.
I started off in architecture, and I just couldn't fit into the vibe there. I just felt more at home in the Art Department, so I just ended up there. But I would be an architect if it didn't require so much engineering.
I am inspired by music, travel, great architecture, and good, healthy food. I look for opportunities to learn about history, art, and cooking. When I learn, I grow.
One of the things that's amazing about reading the private writing of these folks is that they enthusiastically describe things which we have now seen, and which are widely regarded as unappealing. They'll write, "It's going to be beautiful, we're going to have a town of 1,000 stone buildings that are all identical." And we as modern readers think, we've seen that; that's bad Soviet architecture or a public housing project. Nobody fantasizes about living there.
An obsession that I've developed in my old age, is great architecture. I bought a house in New Orleans and I became quite enamored of the architecture there. It began there. I travel a lot or my work, so now, wherever I go, I wasn't to find the most beautiful church, the most beautiful museums. Anything ancient.
It seems that the brain has a "small world" architecture - or at least the cortex does. Everything can connect to everything else in a few synaptic steps.
I studied in London in 1968. Our school had a separate department of tropical architecture. Of course it was totally unfashionable, partly because nobody wanted to think about colonialism, but basically what you learned there was that, OK, the sun is here, so you should create natural ventilation here - an unbelievable amount of really sound principles that have been completely abandoned, so now everything is air conditioned with big machines.
It is a gift, and you realize as soon as you cross the border into Paraguay, as I did, the first time in '82, that you are in a sort of wonderland. Nothing is quite right: the buildings, they've got their own architecture, their own language; and everything is just a little bit off key.
I see architecture as a form of communication over time.
What's interesting in archaeology is that we always understand other cultures by digging up their cities; architecture is almost always a way for us to formulate a diagram of how people used to live.
If I were to arrive at a foreign country like Czech Republic, I don't have to speak Czech to understand the feeling of the local sensations through architecture. That is a kind of communication that no language can perform.
Architecture, in itself, at the end of the day, is a rational profession.
As a visual discourse, architecture requires trained individuals to work on the refined philosophical debates. School gave me the necessary training, and I've built on this based on my own aesthetics, as most do.
I think of architecture as language, and I look within the intra-communication between architects.
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.
The dining room is a building; the bathroom is a building. If we scatter this single-program architecture inside of a domestic environment, we can link an interior urbanism in a way similar to a village or a township of tiny houses.
The role of architecture, in terms of communication, is not going to drastically change either.
I believe architecture is a cultural output and I think Rem Koolhaas is one of the rare individuals who was able to really output architecture as cultural artifact.
I am critical of the fact that Hungarian Prime Minister Viktor Orbán is pulling out of everything - the joint approach to the refugee issue, for example. He cannot disparage his colleagues in the EU either - that's not how we treat each other. We require solidarity: in refugee policies, just as in the financial architecture of the structural funds from which countries like Hungary have strongly profited from for years.
Dad and Mom were frustrated artists - Dad wanted to study engineering or architecture and Mom wanted to be an actress - but the world was a different place when they were young so Dad became a public works foreman and Mom became a stay-at-home mom. When I said I wanted to be a writer, they were thrilled. They did everything in their power to support me.
The problem with architecture is it goes with the territory, because it's an applied art and because you're messing about with people and their environment.
Persia is very different from the Arab Middle East in terms of architecture and language. Even though we think of them as one big Middle Eastern area, in truth, Persia's quite distinct.
In my head, my business is architecture and furniture; it's 70 percent Prouvé, and Corbusier, Royer, Jeanneret - they all passed away. So it's retrospective, I'm looking back.
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