Architectural Conservation Quotes

A house is a machine for living in. Baths, sun, hot-water, cold-water, warmth at will, conservation of food, hygiene, beauty in the sense of good proportion. An armchair is a machine for sitting in and so on. Our

Whereas art critics are ready to accept-indeed are looking for-the new fabrication of a consistent visual language, architectural critics, like the general public, are much more conservative and unwilling to accept the introduction of new codes.

...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?

The explanation of this perennial quality of Arabic is to be found simply in the conserving role of nomadism. It is in towns that languages decay, by becoming worn out, the things and institutions they designate. Nomads, who live to some extent outside time, conserve their language better; it is, moreover, the only treasure they can carry around with them in their pastoral existence; the nomad is a jealous guardian of his linguistic heritage, his poetry and his rhetorical art. On the other hand, his inheritance in the way of visual art cannot be rich; architecture presupposes stability, and the same is broadly true of sculpture and painting.

Charles is difficult to pigeonhole politically. Tony Blair wrote that he considered him a “curious mixture of the traditional and the radical (at one level he was quite New Labour, at another definitely not) and of the princely and insecure.” He is certainly conservative in his old-fashioned dress and manners, his advocacy of traditional education in the arts and humanities, his reverence for classical architecture and the seventeenth-century Book of Common Prayer. But his forays into mysticism and his jeremiads against scientific progress, industrial development, and globalization give him an eccentric air. “One of the main purposes of the monarchy is to unite the country and not divide it,” said Kenneth Rose. When the Queen took the throne at age twenty-five, she was a blank slate, which gave her a great advantage in maintaining the neutrality necessary to preserve that unity. It was a gentler time, and she could develop her leadership style quietly. But it has also taken vigilance and discipline for her to keep her views private over so many decades. Charles has the disadvantage of a substantial public record of strong and sometimes contentious opinions, not to mention the private correspondence with government ministers protected by exemptions in the Freedom of Information Act that could come back to haunt him if any of it is made public. One letter that did leak was written in 1997 to a group of friends after a visit to Hong Kong and described the country’s leaders as “appalling old waxworks.

I will invest my heart's desire and the work of my hands in things that will outlive me. Although it grieves me that houses are burning, I have fallen in love with freedom regardless, and the entitlement of a woman to get a move on, equipped with boots that fit and opinions that might matter. The treasures I carry closest to my heart are things I can't own: the curve of a five-year-old's forehead in profile, and the vulnerable expectation in the hand that reaches for mine as we cross the street. The wake-up call of birds in a forest. The intensity of the light fifteen minutes before the end of day; the color wash of a sunset on mountains; the ripe sphere of that same sun hanging low in a dusty sky in a breathtaking photograph from Afghanistan. In my darkest times I have to walk, sometimes alone, in some green place. Other people must share this ritual. For some I suppose it must be the path through a particular set of city streets, a comforting architecture; for me it's the need to stare at water until my mind comes to rest on nothing at all. Then I can go home. I can clear the brush from a neglected part of the garden, working slowly until it comes to me that here is one small place I can make right for my family. I can plant something as an act of faith in time itself, a vow that we will, sure enough, have a fall and a winter this year, to be followed again by spring. This is not an end in itself, but a beginning. I work until my mind can run a little further on its tether, tugging at this central pole of my sadness, forgetting it for a minute or two while pondering a school meeting next week, the watershed conservation project our neighborhood has undertaken, the farmer's market it organized last year: the good that becomes possible when a small group of thoughtful citizens commit themselves to it...Small change, small wonders - these are the currency of my endurance and ultimately of my life.

Just as we will spend large sums to preserve cities like Venice, even though future generations conceivably may not be interested in such architectural treasures, so we should preserve wilderness even though it is possible that future generations will care little for it.

In the mid-twentieth century it became the fashion in library architecture to design buildings as open-floored structures in which furniture, including bookcases, could be moved about at will. The Green/Snead Library of Congress bookstack that six decades earlier had been declared 'perfect' was now viewed as disadvantageously locking a stack arrangement into the configuration of its construction. In the new approach, reinforced concrete floors carry the loads of bookshelves, so that they can be arranged without regard for window placements. This apparently has the appeal of flexibility in the light of indecision, for planners need not look at the functional and aesthetic requirements of their space and its fittings with any degree of finality; they can always change the use of the space as whim and fashion and consultants dictate. It is unfortunate that such has become the case, for it reflects not only a lack of sensitivity to the historical roots of libraries and their use but also rejects the eminently sensible approach to using natural light as a means of energy conservation if nothing else. There is little more pleasing experience in a library than to stand before a bookshelf illuminated not by florescent lights but by the diffused light of the sun. Direct sunlight can be an annoyance and have a downright blinding effect, of course, but it has been the challenge to architects and engineers since Vitruvius to orient their structures--and the bookshelves in them--to minimize such problems in institutional stacks and in private libraries alike. Let us hope that not all future librarians lose their heliotropic instincts nor lose sight of the bookshelves for the forest of bookcases in which they rest.

and Mrs. William Hayes Fogg. New gifts from Forbes and others were so numerous by 1912 that plans were made for a new museum adjacent to Harvard Yard on Quincy Street. As director, Forbes conceived of the new Fogg as a laboratory of learning, accommodating galleries, lecture halls, curatorial offices, conservation, and a research library all under the same roof. He closely oversaw the architectural plans by Charles Coolidge – from the outside, a simple brick neocolonial; inside, a spacious, skylit courtyard modeled, down to the last detail, on a High Renaissance facade in Montepulciano, in Tuscany, creating a sanctuary from the day-to-day bustle of Cambridge. Forbes insisted that this be finished, like the original, in travertine, at the then-extraordinary cost of $56,085. Harvard president Abbott Lawrence Lowell balked. A simple plaster finish would cost about $8,500. The travertine was not only expensive, Lowell asserted, it was ostentatious. But Forbes was

For at a certain point in time even the greatest architecture ceases to be completely architecture and becomes partially landscape. Sometimes the wheel at last turns full circles; the pyramids are now wholly landscape, Stonehenge but faintly architecture. from the essay What should we preserve? in The Future of the Past

The reason liberals despise Clarence Thomas or caricature a Ben Carson, more so than they do white conservative justices or public figures, is the threat that they pose to the entire engine of liberal condescension — and Democratic politics. When successful blacks prove that they easily compete in the marketplace of talent and ideas without liberal racial policies and their political henchmen, then the entire architecture of liberal racial politics collapses. The disdain shown a Thomas or Carson suggests that liberal racial politics serve as private medieval penance in the abstract, and at little personal cost for assuaging guilt over liberal apartheid.

What was that about the family investment project?” she asks. “Just that without your cooperation your family will likely go the way of the bird,” her mother cuts in before Sirhan can muster a reply. “Not that I expect you to care.” Boris butts in. “Core worlds are teeming with corporates. Is bad business for us, good business for them. If you are seeing what we are seen—” “Don’t remember you being there,” Pierre says grumpily. “In any event,” Sirhan says smoothly, “the core isn’t healthy for us one-time fleshbodies anymore. There are still lots of people there, but the ones who uploaded expecting a boom economy were sadly disappointed. Originality is at a premium, and the human neural architecture isn’t optimized for it—we are, by disposition, a conservative species, because in a static ecosystem that provides the best return on sunk reproductive investment costs. Yes, we change over time—we’re more flexible than almost any other animal species to arise on Earth—but we’re like granite statues compared to organisms adapted to life under Economics 2.0.” “You tell ’em, boy,” Pamela chirps, almost mockingly. “It wasn’t that bloodless when I lived through it.” Amber casts her a cool stare. “Where was I?” Sirhan snaps his fingers, and a glass of fizzy grape juice appears between them. “Early upload entrepreneurs forked repeatedly, discovered they could scale linearly to occupy processor capacity proportional to the mass of computronium available, and that computationally trivial tasks became tractable. They could also run faster, or slower, than real time. But they were still human, and unable to operate effectively outside human constraints. Take

He [John Summerson] wrote that Georgian buildings, in particular, did not rely on an 'irrecoverable sense of craftsmanship for the pleasure they give. Personally I find great enhancement in reconstructed classical architecture. I like the new, sharp-cut masonry of Peckwater quadrangle at Christ Church, and wish that much more of Oxford's scrofulous architecture could be "touched for the King's evil" in the same way'. 59 ... Part of his objection to their restoration rested on the fact that although the fabric could be rebuilt their furnishings were irreplaceable: 'You can re-build the structure of a building of the Wren type without losing much - expect in the way of sentiment. But once you start faking craftsmanship - Grinling Gibbons screens and wrought iron rails - you are doing a poor service to art and a positive disservice to archaeology'. 61 61. RIBA SUJ 10/3 Typescript 'Answering You' BBC Home Service 25 Jan. 1941 - 'Ariel in Wartime'.

I shared his love of the countryside and of the old ways of building; I believed, as he did, that the modernist styles of architecture that were desecrating our town were also destroying its social fabric; and I saw, for the first time in my life, that it is always right to conserve things, when worse things are proposed in their place. That a priori law of practical reason is also the truth in conservatism.

Environment and development must go hand in hand, one cannot be sacrificed for the sake of the other.

It is a conservation of momentum: what is diminished by time is augmented by the pencil. As the idea fades, the agitation around it has to increase to keep it alive; and as the scope of the architectural profession also reduces, the designer’s visible impact on the object increases, as if to recall lost powers.

La cour vide Lorsque je parle français à mes enfants, je considère que c’est la langue de ma mère, même si ce n’est plus ma langue maternelle. Ce français, il est chargé d’un manque : le sien, le mien, et ce qu’elle a perdu quand elle me l’a légué, à des continents de l’endroit d’où elle était partie : criblé de trous, à la fois préservé dans la naphtaline et mangé aux mites, l’odeur de conserve et l’odeur de mort au coude à coude. Remisé à la cave pendant des années, il est devenu gras, laiteux, engourdi, ma bouche une soufflerie où résonnait l’écho de sa désuétude. Puis il y avait le retour aux sources, les étés annuels à Bouillon où nous sentions notre belgitude monter en nous comme l’humidité derrière les tapisseries de la maison inhabitée neuf mois sur douze : ses pièces vides, ses placards introuvables, son bric-à-brac rangé et empilé depuis si longtemps que chaque élément oublié s’imbriquait dans le suivant, une savante architecture d’abandon ; l’articulation des mots

Let us find harmony between concrete and nature. Without harming earth, let us build green skyscrapers.

For all its bullet trains and modern architecture and K-pop styles, South Korea is still a very conservative country with old-fashioned notions of female virtue.

To say that someone is a conservative does not tell us what he is interested in conserving.