The architecture of war and violence is now matched by a barrage of goods parading as fashion.
Poor minorities live in a new age of Jim Crow, one in which the ravages of segregation, racism, poverty and dashed hopes are amplified by the forces of privatization, financialization, militarization and criminalization, fashioning a new architecture of punishment, massive human suffering and authoritarianism.
I think there has only ever been one member of the Federal Parliament from either side found to have been corrupt in the whole history of Australia. I don't think we should create the architecture to solve a problem which barely exists.
My earliest memory of architecture, I was perhaps 6 or 7 years old, was of my aunt building a house in mosul in the north of iraq. The architect was a close friend of my father's and he used to come to our house with the drawings and models. I remember seeing the model in our living room and I think it triggered something, as I was completely intrigued by it.
From my first days studying architecture at the architectural association, I have always been interested in the concept of fragmentation and with ideas of abstraction and explosion, where we were de-constructing ideas of repetitiveness and mass production.
Of course there is a lot of fluidity now between art, architecture and fashion - a lot more cross-pollination in the disciplines, but this isn't about competition, it's about collaboration and what these practices and processes can contribute to one another.
The current state of architecture and design requires extensive collaboration and an investigative attitude and we continue to research and develop new technologies.
There are some very similar moments in the early work where the focus was on drawing, abstraction and fragmentation. Then it moved to the development of ideas. Lately it has become what architecture should be, which is more fluid organization. There has not been so much 'a change' but 'a development'.
With products the form is almost the finished piece, but with architecture it is not.
I've always been interested in combining architecture with a social agenda, and I really think you can invest and be inventive with hospitals and housing.
The conservative values that are emerging, it may not effect architecture immediately but it will effect society and that's what worries me.
I've become much more interested in architecture than I've ever been.
I did make several trips to the very wonderful [Georgia] O'Keeffe museum. Besides the art (my favorite paintings are from her Pelvis series) my favorite thing about the museum is the architecture. I love how enormously tall the doors are - it is like going into a church. There is also something home-like about the layout of the museum. I wish I could live there!
I decided I wanted to do something that was worthwhile and thought I would try architecture. There was not an architect in my family.
Each museum is different - the collection is different, the context is different, the relationship between the art and architecture is different.
I always say that writing non-fiction versus writing fiction is a bit like architecture versus abstract painting.
I have people working together, doing different things: architecture, art installation, photography, publishing, and curatorial works and design.
I believe [the architecture firm] Herzog and de Meuron and our collaboration made the product the best it could be.
As a total activity - I practice curating, art, architecture, writing, and publishing all together. I still act as a living creature.
Even with all of its changing, Brooklyn's architecture still feels like home, the language feels like home. It's changing so quickly that it's surprising. It's surprising still, when someone looks kind of askance to see me walking towards them.
I've always viewed the Paris Agreement as a starting point. If you look at all the commitments that have been made by all the countries, it's still not sufficient to deal with the very dangerous situation we face. What it has done is that it created an architecture whereby as technology improves, as we find new clean sources of energy, as we make our economies more efficient, then gradually we can turn up the dial and improve the outcomes of Paris.
I would never go to a place and live there because the weather was good or the scenery was beautiful or the architecture was wonderful. I would only go because the people are kind, and in America, everybody's your friend and happiness rains down from the sky.
I just love architecture, and I just love the idea of being someone who sees the world differently and doing everything you can do in order to actualize that dream. And really sticking to your guns when everyone else is telling you that you're crazy.
Just growing up in Columbus, which is such a special place, small town with a Fortune 500 company's headquarters, the extraordinary modern architecture. The experiences that I've had growing up in that very unique hometown has shaped me and always will shape me.
I used to read more when I was a kid than I do now. It was all sort of fuel for the fire to teach you how to think and how to make things and it informed the architecture that I was doing. It's better coming in with that history and that kind of knowledge and depth of understanding of humanity that is very important for building buildings - for understanding people and how they should live and how you could make your lives better and stuff like that.
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