Architects Love Quotes

We had old architects and were working with what we had on hand. You’ve hired this new, young architect now, and, Pericles, I’m going to build you a statue of Athena—all gold and ivory, think of that, Pericles—and taller than our city walls.” Pericles raised his eyes toward the birds.

I am the way into the city of woe, I am the way into eternal pain, I am the way to go among the lost. Justice caused my high architect to move, Divine omnipotence created me, The highest wisdom, and the primal love. Before me there were no created things But those that last forever—as do I. Abandon all hope you who enter here.

Artists use frauds to make human beings seem more wonderful than they really are. Dancers show us human beings who move much more gracefully than human beings really move. Films and books and plays show us people talking much more entertainingly than people really talk, make paltry human enterprises seem important. Singers and musicians show us human beings making sounds far more lovely than human beings really make. Architects give us temples in which something marvelous is obviously going on. Actually, practically nothing is going on.

A happy ending: She agreed to love herself deeply. She was finally the sun of her own life.

For apprentices everywhere - no one told us that love was the hardest craft to master

Through me is the way to the city of woe. Through me is the way to sorrow eternal. Through me is the way to the lost below. Justice moved my architect supernal. I was constructed by divine power, supreme wisdom, and love primordial. Before me no created things were. Save those eternal, and eternal I abide. Abandon all hope, you who enter.

Sometimes, there comes a time when the universe just wants you to find all the love that you deserve inside the saddest parts of you. It is there where your healing will begin.

Frost grows on the window glass, forming whorl patterns of lovely translucent geometry. Breathe on the glass, and you give frost more ammunition. Now it can build castles and cities and whole ice continents with your breath’s vapor. In a few blinks you can almost see the winter fairies moving in . . . But first, you hear the crackle of their wings.

And all she loved, she loved with a little sadness in her heart.

He was my first true friend. My first love. First lover. The master of more pleasure than I knew existed, and the architect of more heartache than I thought I could endure … I want him. Can’t want him. Need him. Hate needing him.

The poet, the painter, the sculptor, the musician, the architect, seek each to concentrate this radiance of the world on one point, and each in his several work to satisfy the love of beauty which stimulates him to produce.

I have learned that feeling empty sometimes is okay. I’ve got to refill myself with something at some point. Art, love, solitude, random acts of kindness. I really don’t know, but that’s what makes being whole again so exciting.

You & Me I will always be glad for the moments we’ve shared and for the moments we still have to share. Waking up next to you is a miracle: Your skin; My skin Your eyes; My eyes Your hair; My fingers Your paintings; My poems Your piercings; My tattoos Your overfeeling mind; My overthinking heart Your fart in the middle of the night; My uncontainable laughter Your soft yawn when you woke up; My lips kissing your soul back to sleep; My head on your chest; Listening to the heart that taught me it’s okay to feel again.

At one glance I loved you with a thousand hearts  . . . Let the zealots think loving is sinful Never mind, Let me burn in the hellfire of that sin. – Mihri Hatun, sixteenth-century Ottoman poetess

It is worth noting that the main players in the recomposition project are women—scientists, anthropologists, lawyers, architects. Educated women, who have the privilege to devote their efforts to righting a wrong. They’ve given prominent space in their professional careers to changing the current system of death. Katrina noted that “humans are so focused on preventing aging and decay—it’s become an obsession. And for those who have been socialized female, that pressure is relentless. So decomposition becomes a radical act. It’s a way to say, ‘I love and accept myself.

Cold men destroy women,” my mother wrote me years later. “They woo them with something personable that they bring out for show, something annexed to their souls like a fake greenhouse, lead you in, and you think you see life and vitality and sun and greenness, and then when you love them, they lead you out into their real soul, a drafty, cavernous, empty ballroom, inexorably arched and vaulted and mocking you with its echoes—you hear all you have sacrificed, all you have given, landing with a loud clunk. They lock the greenhouse and you are as tiny as a figure in an architect’s drawing, a faceless splotch, a blur of stick limbs abandoned in some voluminous desert of stone.

Why did you decide to be an architect?" "I didn't know it then. But it's because I've never believed in God." "Come on, talk sense." "Because I love this earth. That's all I love. I don't like the shape of things on this earth. I want to change them." "For whom?" "For myself." "How old are you?" "Twenty-two." "Where did you hear all that?" "I didn't." "Men don't talk like that at twenty-two. You're abnormal." "Probably." "I didn't mean it as a compliment." "I didn't either.

-Let respect be the foundation, affection the first floor, love the superstructure; Mdlle Reuters is a skillful architect. - And interest? -yes, no doubt; it will be the cement between every stone!

June 16, 2018 I feel lovely, but it’s just the drugs. But sometimes I think that maybe it isn’t just the drugs? Maybe these feelings are inside of us all along, and the drugs find them. Maybe that’s why some people choose to be junkies because they choose to believe that they’re worthy of happiness. And maybe some of us like the pain so much that we numb it in order for us to really understand it. To put these suicidal feelings to sleep and fall in love with the way we fall in love with the stars within us. I think self-destruction is the most addictive thing. There’s something very powerful and magical about it.

We black Southerners, through life, love, and labor, are the generators and architects of American music, narrative, language, capital, and morality. That belongs to us. Take away all those stolen West African girls and boys forced to find an oral culture to express, resist, and signify in the South, and we have no rich American idiom.

As architect of your reality, you are empowered to create it as you choose.

It can hardly be a coincidence that no language on Earth has ever produced the expression "as pretty as an airport". Airports are ugly. Some are very ugly. Some attain a degree of ugliness that can only be the result of a special effort. This ugliness arises because airports are full of people who are tired, cross, and have just discovered that their luggage has landed in Murmansk (...) and the architects have on the whole tried to reflect this in their designs. They have sought to highlight the tiredness and crossness motif with brutal shapes and nerve jangling colours, to make effortless the business of separating the traveller from his or her luggage or loved ones, to confuse the traveller with arrows that appear to point at the windows, distant tie racks, or the current position of the Ursa Minor in the night sky, and wherever possible to expose the plumbing on the grounds that it is functional, and conceal the location of the departure gates, presumably on the grounds that they are not".

Every idea that is a true idea has a form, and is capable of many forms. The variety of forms of which it is capable determines the value of the idea. So by way of ideas, and your mastery of them in relation to what you are doing, will come your value as an architect to your society and future. That's where you go to school. You can't get it in a university, you can't get it here, you can't get it anywhere except as you love it, love the feeling of it, desire and pursue it. And it doesn't come when you are very young, I think. I believe it comes faster with each experience, and the next is very simple, or more simple, until it becomes quite natural to you to become master of the idea you would express. "Idea and Essence" September 7, 1958

I’m at architecture school at UCLA.” “Ooooh, I love architects. They have such big buildings.” Oh Lord, let the floor open up and suck me into the ground. Better yet, take Will. “Uh, not all of them are big. Some are quite small. It all depends on the client,” Juan says. “I’m sure yours are very, very big.” “Yeah, well, I’m still in school, so I’m not really building much other than models at the moment.” Poor Juan looks hideously uncomfortable. “I bet you’re really good with your hands, all that drawing and building.

don’t work yourself to the point of a mental breakdown. give priority to your mental health. you are only a few steps away from completely losing your balance and breaking your mind. take one step back every time you take two steps forward. breathe. be mindful. see through life as it transpires moment by moment. learn when to rest. sleep is important. eating healthily is important. everything you do for the sake of your sanity is important. being kind to your mind is the best self-care there is. if there’s anything that’s lovely about you, it is your mind.

The greatest book in the world, the Mahabharata, tells us we all have to live and die by our karmic cycle. Thus works the perfect reward-and-punishment, cause-and-effect, code of the universe. We live out in our present life what we wrote out in our last. But the great moral thriller also orders us to rage against karma and its despotic dictates. It teaches us to subvert it. To change it. It tells us we also write out our next lives as we live out our present. The Mahabharata is not a work of religious instruction. It is much greater. It is a work of art. It understands men will always fall in the shifting chasm between the tug of the moral and the lure of the immoral. It is in this shifting space of uncertitude that men become men. Not animals, not gods. It understands truth is relative. That it is defined by context and motive. It encourages the noblest of men - Yudhishtra, Arjuna, Lord Krishna himself - to lie, so that a greater truth may be served. It understands the world is powered by desire. And that desire is an unknowable thing. Desire conjures death, destruction, distress. But also creates love, beauty, art. It is our greatest undoing. And the only reason for all doing. And doing is life. Doing is karma. Thus it forgives even those who desire intemperately. It forgives Duryodhana. The man who desires without pause. The man who precipitates the war to end all wars. It grants him paradise and the admiration of the gods. In the desiring and the doing this most reviled of men fulfils the mandate of man. You must know the world before you are done with it. You must act on desire before you renounce it. There can be no merit in forgoing the not known. The greatest book in the world rescues volition from religion and gives it back to man. Religion is the disciplinarian fantasy of a schoolmaster. The Mahabharata is the joyous song of life of a maestro. In its tales within tales it takes religion for a spin and skins it inside out. Leaves it puzzling over its own poisoned follicles. It gives men the chance to be splendid. Doubt-ridden architects of some small part of their lives. Duryodhanas who can win even as they lose.

I'm trained as an architect; writing is like architecture. In buildings, there are design motifs that occur again and again, that repeat -- patterns, curves. These motifs help us feel comfortable in a physical space. And the same works in writing, I've found. For me, the way words, punctuation and paragraphs fall on the page is important as well -- the graphic design of the language. That was why the words and thoughts of Estha and Rahel, the twins, were so playful on the page ... I was being creative with their design. Words were broken apart, and then sometimes fused together. "Later" became "Lay. Ter." "An owl" became "A Nowl." "Sour metal smell" became "sourmetal smell." Repetition I love, and used because it made me feel safe. Repeated words and phrases have a rocking feeling, like a lullaby. They help take away the shock of the plot -- death, lives destroyed or the horror of the settings -- a crazy, chaotic, emotional house, the sinister movie theater.

Love enters a man through his eyes, a woman through her ears.

Your Home should tell the story of who you are, and be a Collection of what you Love.

I tried to love Dad and not hate him for his fake cheer and the way he gets dressed. I tried to imagine what Mom saw in him back when she was an architect. I tried to put myself in the shoes of someone who finds every little thing he does a total delight. It was sad, though, because the thought of him and all his accessories always made me sick. I wished I'd never made the connection about Dad being a gigantic girl, because once you realize something like that, it's hard to go back.

More even than the work of the great architects, I loved buildings that grew silently with the centuries, catching and keeping the best of each generation, while time curbed the artist's pride and the Philistine's vulgarity, and repaired the clumsiness of the dull workman.

Life is a chain of interrelated puzzles.Pain and Sorrow are some necessities to greater heights and people may be the architects of our woes. We may develop some hatred for such people through whom the woes of life came our way but when we get to the point where we fully understand why sorrow and pain came our way, we ought to be grateful to those through whom the woes that propelled us to our greatness came.

For me, nothing can change the fact that your happiness is indistinguishable from mine.

Everything you have contact with will be woven into your garden

His love was an architect that entirely remade the reality of the chapel, transforming it into a cathedral as grand as any in the world.

Your hands found me like an architect.

It would take an architect who could hate enough to feel enough to love enough to perpetrate the kind of special cruelty only real lovers can inflict.

The acceptance of both polarities is the understanding that you are not caught up in a victim/saviour mentality, but a mentality of love, understanding, forgiveness and empowerment.

He would never have dared to call this thing he felt for Mihrimah love, and yet when it was uttered, unveiled, by someone else, he carefully picked up the word and hugged it to his chest, not willing to let go.

The four borders of the Taj Mahal are designed to be identical, as if there were a mirror situated on one side, though one can never tell on which one. Stone reflected in the water. God reflected in human beings. Love reflected in heartbreak. Truth reflected in stories. We live, toil and die under the same invisible dome. Rich and poor, Mohammedan and baptized, free and slave, man and woman, Sultan and mahout, master and apprentice … I have come to believe that if there is one shape that reaches out to all of us, it is the dome. That is where all the distinctions disappear and every single sound, whether of joy or sorrow, merges into one huge silence of all-encompassing love. When I think of this world in such a way, I feel dazed and disoriented, and cannot tell any longer where the future begins and the past ends; where the West falls and the East rises.

Nothing is quite beautiful alone: nothing but is beautiful in the whole. A single object is only so far beautiful as it suggests this universal grace. The poet, the painter, the sculptor, the musician, the architect, seek each to concentrate this radiance of the world on one point, and each in his several work to satisfy the love of beauty which stimulates him to produce. Thus is Art, a nature passed through the alembic of man. Thus in art, does nature work through the will of a man filled with the beauty of her first works.

Church wasn't designed by an architect (Technically, Jesus was a carpenter.). So why do we think of churches as buildings instead of groups of people who love Jesus?

The king of all of my regrets. The architect of every last drop of joy I’d ever tasted. My tormentor. My savior.

Some day I'll probably marry a horny-handed son of a toil, and if I do it'll be the horny hands that will win me. If you want to know, I like 'em with their scars on them. There's something about a man who has fought for it - I don't know what it is - a look in his eye - the feel of his hand. He needn't have been successful - thought he probably would be. I don't know. I'm not very good at this analysis stuff. I know he - well, you haven't a mark on you. Not a mark. You quit being an architect, or whatever it was, because architecture was an uphill disheartening job at the time. I don't say that you should have kept on. For all I know you were a bum architect. But if you had kept on - if you had loved it enough to keep on - fighting, and struggling, and sitcking it out - why, that fight would show in your face to-day - in your eyes and your jaw and your hands and in your way of standing and walking and sitting and talking. Listen. I'm not critcizing you. But you're all smooth. I like 'em bumpy.

Immortal existence.. Sometimes Living is not such an easy task.. Being here or there.. The spirit is the same.. Only changes the place where shows.. Here, the make-up is of meat.. There is infinite LIGHT.. In the flesh, or out of it , what does order is what thinks and what creates.. Each thought, a vibration.. Each action, a reaction.. That doesn't change with the death of the body.. Because actually nobody dies.. We are immortal divine existences.. Believing or not.. So many lives.. So many experiences.. So many faces.. So many dreams.. To each life new opportunities.. New learnings.. The soul Request.. Thirsty to experiment, feels, develop, evolve, grow and so it goes.. The spirit Obeys.. Enters and exit the perishable bodies.. Gets right and misses.. rehearses, Conquers and proceeds.. The spirit is a gift of the architect of the universe for the benefit of all.. It's light.. it's love.. it's eternal.. In the Astral or in the Earth.. There is to educate the thought and to clean the energies around yourself.. Gives some work to do that spiritual maintenance, but it is worthwhile. It is Light that cleans the Light! So never forget you are imperishable consciousness.. May a light circle involves and illuminate each soul.. Much light and love in each heart that pulses in the heart of the whole.. Namaste, Dave

Sometimes it’s just lying in bed and staring at the ceiling listening to the same song over and over again as it slowly loses its meaning. Sometimes it’s how people go mad because they couldn’t tame the darkness that was growing within them over time. Some days it’s a girl waking up without her soul. Some nights it’s a boy falling asleep with his spirit crushed. Sometimes it’s someone wanting to lose themselves to a person, but instead, they push that person away. Solitude only becomes a prison when you do not love yourself. And even if you do love yourself it’s still a very dangerous thing, and the very benefits of it are the stars shining in its purest darkness. Solitude isn’t always pretty but also are the truths that we find within ourselves when we learn to find solace in it.

Staring into his dark eyes, she felt the doubts she had nurtured slipping away on a single breath. She reached out to him again, pulling him toward her. Their bodies met, two galaxies subject to the inexorable pull of the universe, both determined to remain connected, if only by a bridge of stars.

Don't become the enemy trying to fix people. People will always love their old ways, that may just work for them. If they accept your instructions when you are around them and do otherwise when you are absent - they fear you not respect you. Let them be the architects of their own doom without blaming it on you.

This man represents so many things to me. He was my first true friend. My first love. First lover. The master of more pleasure than I knew existed, and the architect of more heartache than I thought I could endure. It

From time to time our national history has been marred by forgetfulness of the Jeffersonian principle that restraint is at the heart of liberty. In 1789 the Federalists adopted Alien and Sedition Acts in a shabby political effort to isolate the Republic from the world and to punish political criticism as seditious libel. In 1865 the Radical Republicans sought to snare private conscience in a web of oaths and affirmations of loyalty. Spokesmen for the South did service for the Nation in resisting the petty tyranny of distrustful vengeance. In the 1920's the Attorney General of the United States degraded his office by hunting political radicals as if they were Salem witches. The Nation's only gain from his efforts were the classic dissents of Holmes and Brandeis. In our own times, the old blunt instruments have again been put to work. The States have followed in the footsteps of the Federalists and have put Alien and Sedition Acts upon their statute books. An epidemic of loyalty oaths has spread across the Nation until no town or village seems to feel secure until its servants have purged themselves of all suspicion of non-conformity by swearing to their political cleanliness. Those who love the twilight speak as if public education must be training in conformity, and government support of science be public aid of caution. We have also seen a sharpening and refinement of abusive power. The legislative investigation, designed and often exercised for the achievement of high ends, has too frequently been used by the Nation and the States as a means for effecting the disgrace and degradation of private persons. Unscrupulous demagogues have used the power to investigate as tyrants of an earlier day used the bill of attainder. The architects of fear have converted a wholesome law against conspiracy into an instrument for making association a crime. Pretending to fear government they have asked government to outlaw private protest. They glorify "togetherness" when it is theirs, and call it conspiracy when it is that of others. In listing these abuses I do not mean to condemn our central effort to protect the Nation's security. The dangers that surround us have been very great, and many of our measures of vigilance have ample justification. Yet there are few among us who do not share a portion of the blame for not recognizing soon enough the dark tendency towards excess of caution.

A tiny architect works inside the human heart drawing sketches of the ideal love from the people it sees, from the books it reads, from its hopes and daydreams, in the fond hope that the eye may one day see the ideal and the hand touch it. Life becomes satisfying the moment the dream is seen walking, and the person appears as the incarnation of all that one loved. The

Lovelight is the emotion of bliss combined with the infinite intelligence of the universe. Lightlove are the frequency codes of awareness and intelligence that combine with the emotion of bliss. Both of these equations lead to that which we call 'bliss charged love'.

I wish I could look back and say that I have learned to love as much as I loved to learn. But if I like, there could be a cauldron boiling for me in hell tomorrow, and who can assure me tomorrow is not already on my doorstep, now that I am as old as an oak tree, and still not consigned to the grave?

I jolted from the shocking, acute pleasure. I loved it when a guy went down on me, but this? It was insanity, and it’d never felt like this before. Each lush stroke of his tongue caused static in my body. It was so good, it short-circuited my brain, and my body didn’t know how to handle the overload.

Indeed they realise their 'enemy' is self. Therefore they stand strong from a place of honour and integrity with forgiveness, love and gratitude in their hearts. Not gratitude for nefarious acts done to them, but gratitude for the game and the chance to experience the free will and polarity that has led to their growth and expansion.

If you ask God for wisdom, He will give you a problem. If you ask God for success, He will give you a duty. If you ask God for riches, He will give you a dream. If you ask God for power, He will give you a task. If you ask God for patience, He will give you a burden. If you ask God for strength, He will give you a load. If you ask God for love, He will give you an enemy. If you ask God for virtue, He will give you a temptation. If you ask God for faith, He will give you a prophecy. If you ask God to be a leader, He will make you a servant. If you ask God to be a general, He will make you a soldier. If you ask God to be a teacher, He will make you a student. If you ask God to be a scholar, He will make you a thinker. If you ask God to be a writer, He will make you a reader. If you ask God to be an artist, He will make you a daydreamer. If you ask God to be a pope, He will make you a priest. If you ask God to be an architect, He will make you a builder. If you ask God to be a sage, He will make you a learner.

Be brave and upright. Shred the fake mask of humility into pieces. And put on the mask of arrogance if needed. Take the whole responsibility of your surrounding society on your own shoulders. If you consider yourself a human being, who cares for humanity, then, become a brave responsible citizen of the whole world. If not a big banyan tree, at least be like a mango tree under the shade of which a few people can rest. You are the architects of this beautiful world. Build it your way. And nourish it with your modern conscience.

Nature teaches us to devour each other and gives us the example of all the crimes and all the vices which the social state corrects or conceals. We should love virtue; but it is well to know that this is simply and solely a convenient expedient invented by men in order to live comfortably together. What we call morality is merely a desperate enterprise, a forlorn hope, on the part of our fellow creatures to reverse the order of the universe, which is strife and murder, the blind interplay of hostile forces. She destroys herself, and the more I think of things, the more convinced I am that the universe is mad. Theologians and philosophers, who make God the author of Nature and the architect of the universe, show Him to us as illogical and ill-conditioned. They declare Him benevolent, because they are afraid of Him, but they are forced to admit that His acts are atrocious. They attribute a malignity to him seldom to be found even in mankind. And that is how they get human beings to adore Him. For our miserable race would never lavish worship on just and benevolent deities from which they would have nothing to fear; they would feel only a barren gratitude for their benefits. Without purgatory and hell, your good God would be a mighty poor creature.

V. R. Lang You are so serious, as if a glacier spoke in your ear or you had to walk through the great gate of Kiev to get to the living room. I worry about this because I love you. As if it weren't grotesque enough that we live in hydrogen and breathe like atomizers, you have to think I'm a great architect! and you float regally by on your incessant escalator, calm, a jungle queen. Thinking it a steam shovel. Looking a little uneasy. But you are yourself again, yanking silver beads off your neck. Remember, the Russian Easter Overture is full of bunnies. Be always high, full of regard and honor and lanolin. Oh ride horseback in pink linen, be happy! and ride with your beads on, because it rains.

I had pledged my heart to someone, your Highness - ' 'What happened?' 'Nothing,' Jahan said, Those who grew up with stories of love that inevitably ended in rapture, revelry, chivalry or calamity could not fathom why for many people love amounted to naught, eventually. 'She was beyond my reach and did not love me. It was not meant to be.' 'There're plenty of women,' the Shah said. Jahan would have liked to say the same thing to him. Why did he still mourn his wife? What he could not put into words, the Shah understood. A thin smile etched on his lips as he said, 'Maybe not.

I have come to believe that if there is one shape that reaches out to all of us, it is the dome. That is where all the distinctions disappear and every single sound, whether of joy or sorrow, merges into one huge silence of all-encompassing love. When I think of the world this way, I feel dazed and disoriented, and cannot tell any longer where the future begins and the past ends, where the West falls and the East rises.

Someday me and her, we’ll come back here. Maybe she’ll be an artist. Maybe she won’t. Maybe I’ll be an architect. Maybe I won’t. What I know for sure is that Echo will be by my side, and that our love is forever.

ANNABETH WANTED TO HATE NEW ROME. But as an aspiring architect, she couldn’t help admiring the terraced gardens, the fountains and temples, the winding cobblestone streets and gleaming white villas. After the Titan War last summer, she’d gotten her dream job of redesigning the palaces of Mount Olympus. Now, walking through this miniature city, she kept thinking, I should have made a dome like that. I love the way those columns lead into that

Recognizing our intrinsic worth entails rejecting anyone’s verbal or non-verbal assessments. We are not mere company shares in a venture market; we are the sole architects of our lives, and only we understand the odyssey we have endured.

Time is the architect of fate, fleeting omen, pure phantom in enchanting light of absence, and our life the play of love and death, only love will never die, because In love no longer ‘thou’ and ‘I’ exist, only the blossom of sacred unity.

To You" What is more beautiful than night and someone in your arms that’s what we love about art it seems to prefer us and stays if the moon or a gasping candle sheds a little light or even dark you become a landscape in a landscape with rocks and craggy mountains and valleys full of sweaty ferns breathing and lifting into the clouds which have actually come low as a blanket of aspirations’ blue for once not a melancholy color because it is looking back at us there’s no need for vistas we are one in the complicated foreground of space the architects are most courageous because it stands for all to see and for a long long time just as the words “I’ll always love you" impulsively appear in the dark sky and we are happy and stick by them like a couple of painters in neon allowing the light to glow there over the river

Watch movies. Read screenplays. Let them be your guide. […] Yes, McKee has been able to break down how the popular screenplay has worked. He has identified key qualities that many commercially successful screenplays share, he has codified a language that has been adopted by creative executives in both film and television. So there might be something of tangible value to be gained by interacting with his material, either in book form or at one of the seminars. But for someone who wants to be an artist, a creator, an architect of an original vision, the best book to read on screenwriting is no book on screenwriting. The best seminar is no seminar at all. To me, the writer wants to get as many outside voices OUT of his/her head as possible. Experts win by getting us to be dependent on their view of the world. They win when they get to frame the discussion, when they get to tell you there’s a right way and a wrong way to think about the game, whatever the game is. Because that makes you dependent on them. If they have the secret rules, then you need them if you want to get ahead. The truth is, you don’t. If you love and want to make movies about issues of social import, get your hands on Paddy Chayefsky’s screenplay for Network. Read it. Then watch the movie. Then read it again. If you love and want to make big blockbusters that also have great artistic merit, do the same thing with Lawrence Kasdan’s Raiders Of The Lost Ark screenplay and the movie made from it. Think about how the screenplays made you feel. And how the movies built from these screenplays did or didn’t hit you the same way. […] This sounds basic, right? That’s because it is basic. And it’s true. All the information you need is the movies and screenplays you love. And in the books you’ve read and the relationships you’ve had and your ability to use those things.

In previous teams you had generally been one of the more gifted players, but here you are one of the least. For some reason, that makes you enjoy it all the more. After all, you reason, you are all in this team to build the same thing: and though you may not be the star architect, there is an equal value in laying bricks.

Looking back into childhood is like turning a telescope the wrong way around. Everything appears in miniature, but with a clarity it probably does not deserve; moreover it has become concentrated and stylized, taking shape in symbolism. Thus it is that I sometimes see my infant self as having been set down before a blank slate on which to construct a map or schema of the external world, and as hesitantly beginning to sketch it, with many false starts and much rubbing-out, the anatomy of my universe. Happiness and sorrow, love and friendship, hostility, a sense of guilt and more abstract concepts still, must all find a place somewhere, much as an architect lays out the plan of a house he is designing - hall, dining-room and bedrooms - but must not forget the bathroom. In a child’s map, too, some of the rooms are connected by a serving-hatch, while others are sealed off behind baize doors. How can the fragments possibly be combined to make sense? Yet this map or finished diagram, constructed in the course of ten or twelve years’ puzzling, refuses to be ignored, and for some time to come will make itself felt as bones through flesh, to emerge as the complex organism which adults think of as their philosophy of life. Presumably it has its origins in both heredity and enviorment. So with heredity I shall begin.

My, my! That does sound serious. He’s almost delirious, But let’s not give up yet. The sun still hasn’t set On this grim tale of grief. Of course, as its chief Architect, I know how it ends. But this river has more bends Before it flows into the sea. So I’ll forgo my omnipotence And keep you in the dark. Oooooo! What suspense! I just love being me!

lovelight' and 'lightlove' are geometric codes. The phrase 'love and light' creates a geometric code that fires directly into the matrix field creating an instant clearing or upgrade. Lovelight and lightlove are very high geometric frequencies linking into the golden frequency, that which is known as the 'golden mean' or 'golden equation', also known as 'the Fibonacci sequence'. It is the mathematical equation of creation itself.

Harriet Larson had said yes all her life. To her parents. To her teachers. To Lou and the girls. To Corinne and Sophie. She'd said yes to shopkeepers, to doctors, to car salesmen, to Girl Scout leaders, to Mormons on rounds, to hairdressers who wouldn't let her go gray. She'd been raised to say yes, to agree and approve and adapt and accommodate, to step aside as the architect of her own happiness. After Lou's death she vowed to say yes only when that yes belonged to her, solely to her. And so: Yes to college. Yes to teaching. Yes to retirement. Yes without being asked; yes before being asked. Yes to Book Club. Yes to Violet. Yes to the filthy and broken Dawna-Lynn, for whom she was searching out a bright, becoming color from a closet too full of beige. These yesses felt like power, like gateways, like love. "Frank." She laid her cheek on his chest. "Yes.

...pseudo-scientific minds, like those of the scientist or the painter in love with the pictorial, both teaching as they were taught to become architects, practice a kind of building which is inevitably the result of conditioning of the mind instead of enlightenment. By this standard means also, the old conformities are appearing as new but only in another guise, more insidious because they are especially convenient to the standardizations of the modernist plan-factory and wholly ignorant of anything but public expediency. So in our big cities architecture like religion is helpless under the blows of science and the crushing weight of conformity--caused to gravitate to the masquerade in our streets in the name of "modernity." Fearfully concealing lack of initial courage or fundamental preparation or present merit: reactionary. Institutional public influences calling themselves conservative are really no more than the usual political stand-patters or social lid-sitters. As a feature of our cultural life architecture takes a backward direction, becomes less truly radical as our life itself grows more sterile, more conformist. All this in order to be safe? How soon will "we the people" awake to the fact that the philosophy of natural or intrinsic building we are here calling organic is at one with our freedom--as declared, 1776?

You are the creation of God. You are the beauty of God. There is not one wrinkle, hair, nail, or cell that was not created by the Divine. God is the master architect, sculptor, and admirer of you and of creation Itself. If you look at a wrinkle on your face, that is the Love of God written upon you. The curves, the contours, the space surrounding you, the masterful etching is the deep story of you. Here, there, and everywhere, God knows you, knows Creation.

People meant very little to Mike, but their performance a great deal. He worshiped expertness of any kind. He loved his work passionately and had no tolerance for anything save for other single-track devotions. He was a master in his own field and he felt no sympathy except for mastery. His view of the world was simple: there were the able and there were the incompetent; he was not concerned with the latter. He loved buildings. He despised, however, all architects.

The bridge of stars?" Janeway asked. "Uh-huh," Glenn said, nodding. "I can't remember the whole story. Two galaxies were one but over time, the natural expansion of the universe separated them. Still, they couldn't bear to be torn apart, so each of them sacrificed a few of their stars to leave a bridge between them so that no matter how far apart they drifted, they could never truly be separated." "That's beautiful," Chakotay said, glancing toward Janeway with a gentle smile.

Nothing is quite beautiful alone; nothing but is beautiful in the whole. A single object is only so far beautiful as it suggests this universal grace. The poet, the painter, the sculptor, the musician, the architect, seek each to concentrate this radiance of the world on one point, and each in his several work to satisfy the love of beauty which stimulates him to produce. Thus is Art, a nature passed through the alembic of man. Thus in art, does nature work through the will of a man filled with the beauty of her first works.

Gustav is a composer. For months he has been carrying on a raging debate with Säure over who is better, Beethoven or Rossini. Säure is for Rossini. “I’m not so much for Beethoven qua Beethoven,” Gustav argues, “but as he represents the German dialectic, the incorporation of more and more notes into the scale, culminating with dodecaphonic democracy, where all notes get an equal hearing. Beethoven was one of the architects of musical freedom—he submitted to the demands of history, despite his deafness. While Rossini was retiring at the age of 36, womanizing and getting fat, Beethoven was living a life filled with tragedy and grandeur.” “So?” is Säure’s customary answer to that one. “Which would you rather do? The point is,” cutting off Gustav’s usually indignant scream, “a person feels good listening to Rossini. All you feel like listening to Beethoven is going out and invading Poland. Ode to Joy indeed. The man didn’t even have a sense of humor. I tell you,” shaking his skinny old fist, “there is more of the Sublime in the snare-drum part to La Gazza Ladra than in the whole Ninth Symphony. With Rossini, the whole point is that lovers always get together, isolation is overcome, and like it or not that is the one great centripetal movement of the World. Through the machineries of greed, pettiness, and the abuse of power, love occurs. All the shit is transmuted to gold. The walls are breached, the balconies are scaled—listen!” It was a night in early May, and the final bombardment of Berlin was in progress. Säure had to shout his head off. “The Italian girl is in Algiers, the Barber’s in the crockery, the magpie’s stealing everything in sight! The World is rushing together.

I loved the exuberance of the place. A sense of liberation and love of life penetrated every room. His home was like his poetry, full of hints of fantasy, allegory and hedonism. Neruda's presence was everywhere writ large on the house. He had build it, seemingly haphazardly without any architect's plans or permission from authority. In a sense, the house had the same structure as a poem on first reading - awkward and confused. Yet wandering through it was like wandering through his poems. Suddenly everything fell in to place. A romantic avant-garde poet could not have lived anywhere else.

Then she decided she was ready to die. But before she did, she asked the poets to record these moments in song, and the architects to carve the song in marble, and the marble to be extracted from the most secret veins of the earth and placed where no man could see it, because that is the nature of love, because one walks alone through the ruins of the heart, because the young must sleep with their eyes open, because the angels tremble from so much beauty, because memory moves in orbits of absence, because she holds her hands out in the rain, and rain remembers nothing, not even how it became itself.

There it lay in the early sunshine of spring. It looked a town rather than a house, but a town built, not hither and thither, as this man wished or that, but circumspectly, by a single architect with one idea in his head. Courts and buildings, grey, red, plum colour, lay orderly and symmetrical; the courts were some of them oblong and some square; in this was a fountain; in that a statue; the buildings were some of them low, some pointed; here was a chapel, there a belfry; spaces of the greenest grass lay in between and clumps of cedar trees and beds of bright flowers; all were clasped — yet so well set out was it that it seemed that every part had room to spread itself fittingly — by the roll of a massive wall; while smoke from innumerable chimneys curled perpetually into the air. This vast, yet ordered building, which could house a thousand men and perhaps two thousand horses, was built, Orlando thought, by workmen whose names are unknown. Here have lived, for more centuries than I can count, the obscure generations of my own obscure family. Not one of these Richards, Johns, Annes, Elizabeths has left a token of himself behind him, yet all, working together with their spades and their needles, their love-making and their child-bearing, have left this. Never had the house looked more noble and humane.

Love demands something unrevealed; it flourishes, therefore, only in mystery. No one ever wants to hear a singer hit her highest note, nor an orator “tear a passion to tatters,” for once mystery and the infinite are denied, life’s urge is stilled and its passion glutted. In a true marriage, there is an ever-enchanting romance. There are at least four distinct mysteries progressively revealed. First, there is the mystery of the other partner, which is body-mystery. When that mystery is solved and the first child is born, there begins a new mystery. The husband sees something in the wife he never before knew existed, namely, the beautiful mystery of motherhood. She sees a new mystery in him she never before knew existed, namely, the mystery of fatherhood. As other children come to revive their strength and beauty, the husband never seems older to the wife than the day they were married, and the wife never seems older than the day they first met and carved their initials in an oak tree. As the children reach the age of reason, a third mystery unfolds, that of fathercraft and mothercraft—the disciplining and training of young minds and hearts in the ways of God. As the children grow into maturity, the mystery continues to deepen, new areas of exploration open up, and the father and mother now see themselves as sculptors in the great quarry of humanity, carving living stones and fitting them together in the Temple of God, Whose Architect is Love. The fourth mystery is their contribution to the well-being of the nation. Here, too, is the root of democracy, for it is in the family that a person is valued not for what he is worth, nor for what he can do, but primarily for what he is.

Your Eve was wise, John. She knew that Paradise would make her mad, if she were to live forever with Adam and know no other thing but strawberries and tigers and rivers of milk. She knew they would tire of these things, and each other. They would grow to hate every fruit, every stone, every creature they touched. Yet where could they go to find any new thing? It takes strength to live in Paradise and not collapse under the weight of it. It is every day a trial. And so Eve gave her lover the gift of time, time to the timeless, so that they could grasp at happiness. ... And this is what Queen Abir gave to us, her apple in the garden, her wisdom--without which we might all have leapt into the Rimal in a century. The rite bears her name still. For she knew the alchemy of demarcation far better than any clock, and decreed that every third century husbands and wives should separate, customs should shift and parchmenters become architects, architects farmers of geese and monkeys, Kings should become fishermen, and fishermen become players of scenes. Mothers and fathers should leave their children and go forth to get other sons and daughters, or to get none if that was their wish. On the roads of Pentexore folk might meet who were once famous lovers, or a mother and child of uncommon devotion--and they would laugh, and remember, but call each other by new names, and begin again as friends, or sisters, or lovers, or enemies. And some time hence all things would be tossed up into the air once more and land in some other pattern. If not for this, how fastened, how frozen we would be, bound to one self, forever a mother, forever a child. We anticipate this refurbishing of the world like children at a holiday. We never know what we will be, who we will love in our new, brave life, how deeply we will wish and yearn and hope for who knows what impossible thing! Well, we anticipate it. There is fear too, and grief. There is shaking, and a worry deep in the bone. Only the Oinokha remains herself for all time--that is her sacrifice for us. There is sadness in all this, of course--and poets with long elegant noses have sung ballads full of tears that break at one blow the hearts of a flock of passing crows! But even the most ardent lover or doting father has only two hundred years to wait until he may try again at the wheel of the world, and perhaps the wheel will return his wife or his son to him. Perhaps not. Wheels, and worlds, are cruel. Time to the timeless, apples to those who live without hunger. There is nothing so sweet and so bitter, nothing so fine and so sharp.

Airports are ugly. Some are very ugly. Some attain a degree of ugliness that can only be the result of a special effort. This ugliness arises because airports are full of people who are tired, cross, and have just discovered that their luggage has landed in Murmansk (Murmansk airport is the only known exception to this otherwise infallible rule), and architects have on the whole tried to reflect this in their designs. They have sought to highlight the tiredness and crossness motif with brutal shapes and nerve-jangling colours, to make effortless the business of separating the traveller for ever from his or her luggage or loved ones, to confuse the traveller with arrows that appear to point at the windows, distant tie racks, or the current position of Ursa Minor in the night sky, and wherever possible to expose the plumbing on the grounds that it is functional, and conceal the location of the departure gates, presumably on the grounds that they are not.

Of course!” he said. “I’d love to chat, but I’ve got to get this email out.” He grabbed some headphones from around his neck, put them over his ears, and returned to his laptop. And get this—his headphones weren’t even plugged in! They were those sound-canceling ones! The whole ride to Redmond he never spoke to me again. Now, Audrey, for the past five years we always figured Bernadette was the ghastly one. Turns out her husband is as rude and antisocial as she is! I was so miffed that when I got to work, I Googled Bernadette Fox. (Something I can’t believe I’ve waited until now to do, considering our unhealthy obsession with her!) Everyone knows Elgin Branch is team leader of Samantha 2 at Microsoft. But when I looked her up, nothing appeared. The only Bernadette Fox is some architect in California. I checked all combinations of her name—Bernadette Branch, Bernadette Fox-Branch. But our Bernadette, Bee’s mom, doesn’t exist as far as the Internet is concerned.

They sat together at a table in the corner of a basement speakeasy, and they drank beer, and Mike related his favorite tale of how he had fallen five stories when a scaffolding gave way under him, how he had broken three ribs but lived to tell it, and Roark spoke of his days in the building trades. Mike did have a real name, which was Sean Xavier Donnigan, but everyone had forgotten it long ago; he owned a set of tools and an ancient Ford, and existed for the sole purpose of traveling around the country from one big construction job to another. People meant very little to Mike, but their performance a great deal. He worshipped expertness of any kind. He loved his work passionately and had no tolerance for anything save for other single-track devotions. He was a master in his own field and he felt no sympathy except for mastery. His view of the world was simple: there were the able and there were the incompetent; he was not concerned with the latter. He loved buildings. He despised, however, all architects.

Sphere/Color /Quality/Service on Planet 1: Blue. To do the will of God, illumined faith, capacity to lead people and manifest large amounts of energy. Initiative. All God-ideas born here. Rulers, leaders and executives. 2. Sunshine yellow. Perception, illumination, inspiration. Ideas are perceived and molded into thought patterns and workable form. Teachers, Educators. 3. Pink. Love, compassion, tolerance. Ideas are clothed with life-essence through the feeling nature, enabling future externalization in the world of form. Love is shown as the cohesive force, holding together a manifested form. Peacemakers, Arbitrators. 4. White. Purity. Artistic development. Poets, artists, musicians, painters, architects. 5. Emerald Green. Scientific development. Healing, concentration, consecration, truth. Scientists, engineers, inventors, healers, doctors, nurses. 6. Ruby with golden radiance. Voluntary impersonal service outside the community. Missionaries. Religious leaders. 7. Violet. Ceremonial service. Culture, refinement, diplomacy. Diplomats, gentlemen, ministers, religious leaders.

whenever two people kiss the world is born, a drop of light with guts of transparency the room like a fruit splits and begins to open or burst like a star among the silences and all laws now rat-gnawed and eaten away, barred windows of banks and penitentiaries, the bars of paper, and the barbed-wire fences, the stamps and the seals, the sharp prongs and the spurs, the one-note sermon of the bombs and wars, the gentle scorpion in his cap and gown, the tiger who is the president of the Society for the Prevention of Cruelty and the Red Cross, the pedagogical ass, and the crocodile set up as saviour, father of his country, the founder, the leader, the shark, the architect of the future of us all, the hog in uniform, and then that one, the favourite son of the Church who can be seen brushing his black teeth in holy water and taking evening courses in English and democracy, the invisible barriers, the mad and decaying masks that are used to separate us, man from man, and man from his own self they are thrown down for an enormous instant and we see darkly our own lost unity, how vulnerable it is to be women and men, the glory it is to be man and share our bread and share our sun and our death, the dark forgotten marvel of being alive;

And so part of the declaring of love means you are working to a commission, now. You are not the sole architect of the person you are building. Someone else is looking over your blueprints--nodding, enthusiastically,over this turret--so you build the turret bigger! and remaining tactfully silent over an ostentatious fountain, which you immediately and silently scrap. You have entered a new world--in which there are two opinions on what will make the very best you. And if your partner is wise, and kind, and has the same taste as you, you will make amazing things together. And if your partner is broken, or impatient, or has darker needs--is unknowingly trying to build you in the shape of another woman he once knew, and lost; is trying to lean into your foundations to make his own stronger--you will make something with rotten walls, and impossible angles, which will, one day in the future, collapse. But that is all part of becoming an adult. That is the difference between girls and women. That they are finally ready to hear the secret of what makes them them,. That they are strong enough--for good, or for ill--to ask someone what is, unexpectedly,the most terrifying, relevatory question, on Earth; one you have to be brave, and ready, to hear: "Why do you love me?

There it lay in the early sunshine of spring. It looked a town rather than a house, but a town built, not hither and thither, as this man wished or that, but circumspectly, by a single architect with one idea in his head. Courts and buildings, grey, red, plum colour, lay orderly and symmetrical; the courts were some of them oblong and some square; in this was a fountain; in that a statue; the buildings were some of them low, some pointed; here was a chapel, there a belfry; spaces of the greenest grass lay in between and clumps of cedar trees and beds of bright flowers; all were clasped — yet so well set out was it that it seemed that every part had room to spread itself fittingly — by the roll of a massive wall; while smoke from innumerable chimneys curled perpetually into the air. This vast, yet ordered building, which could house a thousand men and perhaps two thousand horses, was built, Orlando thought, by workmen whose names are unknown. Here have lived, for more centuries than I can count, the obscure generations of my own obscure family. Not one of these Richards, Johns, Annes, Elizabeths has left a token of himself behind him, yet all, working together with their spades and their needles, their love-making and their child-bearing, have left this. Never had the house looked more noble and humane.

All men are in some degree impressed by the face of the world; some men even to delight. This love of beauty is Taste. Others have the same love in such excess, that, not content with admiring, they seek to embody it in new forms. The creation of beauty is Art. The production of a work of art throws a light upon the mystery of humanity. A work of art is an abstract or epitome of the world. It is the result or expression of nature, in miniature. For, although the works of nature are innumerable and all different, the result or the expression of them all is similar and single. Nature is a sea of forms radically alike and even unique. A leaf, a sun-beam, a landscape, the ocean, make an analogous impression on the mind. What is common to them all,—that perfectness and harmony, is beauty. The standard of beauty is the entire circuit of natural forms,—the totality of nature; which the Italians expressed by defining beauty "il piu nell' uno." Nothing is quite beautiful alone: nothing but is beautiful in the whole. A single object is only so far beautiful as it suggests this universal grace. The poet, the painter, the sculptor, the musician, the architect, seek each to concentrate this radiance of the world on one point, and each in his several work to satisfy the love of beauty which stimulates him to produce. Thus is Art, a nature passed through the alembic of man. Thus in art, does nature work through the will of a man filled with the beauty of her first works.

I believe Nancy said that her aunt married beneath her.” Which you wouldn’t let me do. He went rigid beside her. “Ah. That does happen.” Unless you’re Dom the Almighty. “The marriage seems to have turned out well enough.” Jane would goad him into revealing the truth of what he’d done, no matter what it took. “Nancy said Mrs. Patch misses her late husband dreadfully and refuses to decamp from York, though she could easily live with my uncle. Apparently, she doesn’t miss her life as a knight’s daughter.” “Oh? And exactly how far beneath herself she marry?” Jane colored as she dredged that little detail from her memory. “Her late husband was an architect, I believe.” “So, not a gentleman of leisure but still in a profession respectable enough that Nancy felt no compunction about visiting her.” He smirked as he navigated the phaeton expertly through the narrow streets of York. “There are levels of marrying beneath one, after all.” Oh, she could just smack his face for that. After all these years, that he could still be so certain of the wisdom of the course he’d set them upon…”Yes, just as there are levels of being in love. Some people’s love for each other transcends all obstacles. Some people’s love does not.” His smug expression vanished. “And some people do not understand the meaning of the word.” “Really? I thought love was about enduring any sacrifice to be with the object of one’s affection.” He drove through an archway and reined in the horses. “Here we are. The Elephant and Castle.” So he was avoiding the subject. Again.

We didn’t ask you to leave and take the disease with you; we kept you close and intimate so we could drain you of life slowly, secretly. We puppeteered the entire obliteration of souls, fed off the pain architected by our own hands. We were the real infection.

Long hours spent in the study of any text will reveal inner, unseen contours, an abstract architecture. This is as true of sacred books as of those poems written in pursuit of courtly or earthly love, or even of language itself. The ancient Mosaic law had accommodated this insight to the disadvantage of the surface layer, of images, while the Roman Catholic Church, akin to the preliterate cultural forms from which it in part arose, allows for the existence of a mystical understanding and experience of these abstractions. The careful scholar cannot but help but become aware of the conflict: when one speaks of the word, or Word, what is one truly speaking of? Who is the architect, man, and---or---a---God? Attempts to apprehend this new reality, these tensions, went initially by the names of philosophy, theology, science. What is it to know deeply? Is knowledge not always a form of power that, taken too far, cannot be turned against itself?

The Century was a high-speed luxury train, used by the rich and famous traveling between Chicago and New York. Sportscaster Bob Elson set up a microphone in Chicago’s LaSalle Street Station and tried to intercept well-knowns for spontaneous interviews. Among the celebrities who appeared were Rita Hayworth and Eleanor Roosevelt, but architect Frank Lloyd Wright brushed briskly past. When Elson said he loved Wright’s work, Wright replied, “In that case, young man, I’ve done enough for you already.” The show was alive with terminal noise, with trains hissing and chugging and tooting. Train buffs complained that the Century was dieselpowered, but the producers thought the old sounds were more romantic, so the sound effects records remained, at least into the late ’40s.

Artists are the architects of our future. The messages they deliver through music, film and television are what guides popular culture. If we want to see more love, peace and prosperity in the world, artists must take responsibility and lead.

At the height of his career, the architect Adolf Loos burned all his drawings, letters, diaries, fetish objects. He burned everything. With fire, he built an archive made of smoke, a dense mass of forgetfulness from which it would be possible to begin to live again. If there were a precise psychosomatic memory of the previous breakup, no one would fall in love again; nor would we if we knew in advance the exact circumstances of the end of the love we were about to begin having.

Legends of Bangladesh - A bunch of pure souls who achieved the glory for a country, Bangladesh, will remember forever as the legends of the nation. The world will know them for their work, sacrifice, love and mostly commitment to give best to their country until last breath. Some of them are famous for writing, some are journalism, Actor movie directors, sportsmen, cricketer, Footballer, economist, scientist, photographer, singer, businessman, martyr, architect, magician and so on. Its not enough to salute and remember them, nationwide respect and acknowledgment with proper mind will fulfill their destiny of making a golden country with all those hard work.

He loved seeing his buildings get built. That was the most wonderful thing about being an architect—to see your drawings become real, three-dimensional objects that you could walk around and touch. All architects were impatient to see their buildings completed.

Cizek came to Vienna [from Leitmeritz, a small town in Bohemia, then Austrian] when he was twenty [in 1885], and entered the Academy of Fine Arts. He lodged with a poor family, where, fortunately, there were children. These children saw him painting and drawing, and they wanted, as Cizek has so often related, “to play painter too.” Out of his genuine love for children, one of the reasons of his success, he gave them what they asked for—pencils, brushes, and paints. And beautiful works were created by them. It was a happy coincidence that Cizek was in close contact with the founders of the “Secession” movement, a kind of revolution of young painters and architects against the old academic art. He showed his friends ... the drawings of his children, and these artists were so thrilled that they encouraged Cizek to open what they scarcely liked only to call a school, but for which they had no other name. There children should be allowed, for the first time, to do what they liked [emphasis added]. (pp. 11–12) Needless