Architectural Term Quotes

As we live and as we are, Simplicity - with a capital "S" - is difficult to comprehend nowadays. We are no longer truly simple. We no longer live in simple terms or places. Life is a more complex struggle now. It is now valiant to be simple: a courageous thing to even want to be simple. It is a spiritual thing to comprehend what simplicity means.

I love going out of my way, beyond what I know, and finding my way back a few extra miles, by another trail, with a compass that argues with the map…nights alone in motels in remote western towns where I know no one and no one I know knows where I am, nights with strange paintings and floral spreads and cable television that furnish a reprieve from my own biography, when in Benjamin’s terms, I have lost myself though I know where I am. Moments when I say to myself as feet or car clear a crest or round a bend, I have never seen this place before. Times when some architectural detail on vista that has escaped me these many years says to me that I never did know where I was, even when I was home.

Architects, if they are really to be comprehensive, must assume the enormous task of thinking in terms always disciplined to the scale of the total world pattern of needs, its resource flows, its recirculatory and regenerative processes.

A nudge, as we will use the term, is any aspect of the choice architecture that alters people’s behavior in a predictable way without forbidding any options or significantly changing their economic incentives.

How many understand that Nature is the essencial character of whatever is. It's something you'll find by looking not at, but in, always in. It's always inside the thing, and it makes the outside. And some day, when you get sufficiently proficient in understanding the use of the term, you can tell by the outside pretty much from what's inside. [...] But everything that's ever going to be of use to you in architecture or in life or anywhere you go or whatever you do is going to be Nature, in some of its immensely varied forms. So varied that there's no end to the variety imaginable. "Nature" September 7, 1958

Every inch of land there is so contested,” I observed, more to myself than to him. “How many lives have been lost fighting over Jerusalem? Yet it is not special in terms of architecture, or location, or works of art.

We now know that groups of neurons create new connections and pathways among themselves every time we acquire a new skill. Computer scientists use the term "open architecture" to describe a system that is versatile enough to change--or rearrange--to accommodate the varying demands on it.

For a brief period of time the American electric-sign industry looked beyond its most immediate market and collaborated with store designers and architects in creating a style which became known as 'stream-line.' Later it became known as 'American Déco.' Whatever it was called or will be called in the future, it represents in terms of neon a thrust away from isolated signage toward an area of architectural ornamentation in which signage is but one element in an overall plan. — Rudi Stern

Toxic stress response can occur when a child experiences strong, frequent, and/or prolonged adversity—such as physical or emotional abuse, neglect, caregiver substance abuse or mental illness, exposure to violence, and/or the accumulated burdens of family economic hardship—without adequate adult support. This kind of prolonged activation of the stress-response systems can disrupt the development of brain architecture and other organ systems, and increase the risk for stress-related disease and cognitive impairment, well into the adult years.

A building is only good, thought Kahn, if its ruins will be any good. He was discouraged by those who thought about buildings in terms of functionality. A building is a spirit, he said. It is made out of man.

Bearded Oaks" The oaks, how subtle and marine, Bearded, and all the layered light Above them swims; and thus the scene, Recessed, awaits the positive night. So, waiting, we in the grass now lie Beneath the languorous tread of light: The grassed, kelp-like, satisfy The nameless motions of the air. Upon the floor of light, and time, Unmurmuring, of polyp made, We rest; we are, as light withdraws, Twin atolls on a shelf of shade. Ages to our construction went, Dim architecture, hour by hour: And violence, forgot now, lent The present stillness all its power. The storm of noon above us rolled, Of light the fury, furious gold, The long drag troubling us, the depth: Dark is unrocking, unrippling, still. Passion and slaughter, ruth, decay descend, minutely whispering down, Silted down swaying streams, to lay Foundation for our voicelessness. All our debate is voiceless here, As all our rage, the rage of stone; If hope is hopeless, then fearless is fear, And history is thus undone. Our feet once wrought the hollow street With echo when the lamps were dead All windows, once our headlight glare Disturbed the doe that, leaping fled. I do not love you less that now The caged heart makes iron stroke, Or less that all that light once gave The graduate dark should now revoke. We live in time so little time And we learn all so painfully, That we may spare this hour's term To practice for eternity.

The Empire was not known for its roomy architecture. It was fond of austere pragmatism (that term, austere pragmatism, or sometimes pragmatic austerity, found its way atop many Imperial brochures and propaganda tracts), and so kept its hallways low and narrow.

The central concern of Egyptian art, literature, and architecture was the divine world order -- the pharaoh and the gods, who were essentially one and the same. To the Egyptians, that divine order was eternal and unchanging, but it did not rest on a coherent and defined system of belief. The same god might be seen one time as the sky, another time as a bird; he might have a mythical mother, yet it might be said that he gave birth to himself; the sky could be both a cow and a goddess. The Egyptians did not think in chronological or logical terms but pictured the same phenomenon in a number of different ways.

The Bretton Woods saga unfurled at a unique crossroads in modern history. An ascendant anticolonial superpower, the United States, used its economic leverage over an insolvent allied imperial power, Great Britain, to set the terms by which the latter would cede its dwindling dominion over the rules and norms of foreign trade and finance. Britain cooperated because the overriding aim of survival seemed to dictate the course. The monetary architecture that Harry White designed, and powered through an international gathering of dollar-starved allies, ultimately fell, its critics agree, of its own contradictions.

Although it has become the most visible of American suburban landscapes, the edge node has few architectural defenders. Even developers despair: 'Shopping centers built only in the 1960s are already being abandoned. Their abandonment brings down the values of nearby neighbourhoods. Wal-Marts built five years ago are already being abandoned for superstores. We have built a world of junk, a degraded environment. It may be profitable for a short-term, but its long-term economic prognosis is bleak.' -Dolores Hayden quoting Robert Davis, 'Postscript,' in Congress for the New Urbanism, Charter of the New Urbanism, 2002.

It is true that ideas are queens by birth: but they only gain favour when they enter the service of interests and instincts. Follow an idea through from its birth to its triumph, and it becomes clear that it came to power only at the price of an astounding degradation of itself. A reasoned structure of arguments, setting in motion a whole stream of logical correspondences between defined terms, does not as such make its way into the social consciousness: rather it has undergone pressures which have destroyed its internal architecture, and left in its place only a confused babel of concepts, the most magical of which wins credit for the others.

This place was not like the Victorian Prisons of England with their imposing red-brick and neo-gothic architecture that was supposed to impress inmates with the power of the state;no, this place looked cobbled together, shoddy and temporary and the only thing it impressed upon you was how current British policy on Ireland was dominated by short-term thinking.

It is the question of "common world". The meaning of this world is not solipsism world, the world of "ego", but the world which can be actualize by my consciousness – according to relation of “ego” and caring for another in everyday life. To care for another means one lets go of self-consciousness and self-awareness and relates. We should consider human is constructed directly in term of their own consciousness and not by contrasting that consciousness with a reality independent of them, on the other hand it is constructed separate of his consciousness. So, we should surely consider the relation of human and the world. It seems that what can link these levels is “life-world” which means the idea of releasing human from worldlessness. Life-world as general sphere of individual experience in the world around (including other persons, objects and events) is a real and concrete phenomenon which has root in everyday life for obtaining its living practical purposes and objectively, considered as the basis of knowledge, interests, benefits and common links between humans. In the realm of life-world, transcendence and consciousness link to individual and group relationship and everyday life. For Heidegger consciousness proceeds from understanding, and this understanding is predicated upon our dealings in the world. Consciousness does not belong to the world. It has a practical relationship with it. What is within consciousness is the exact meaning of the word nothing. Consciousness is nothing but an opening to what they are and can only be talked about in this sense. Consciousness is the relationship we experience in praxis. As for a footballer, bodybuilding and fitness is nothing but the relationship he experiences in act, the day of the race and the subsequent races. Therefore, in this meaning, world without consciousness, intersubjectivity relationships -Alfred Schutz calls this quality as we- pure relation- and everyday life is not imaginable. Because of this matter we can't talk about the world without considering the roles of above items. "As Husserl articulated the life-world can be said to include the world of science and action can’t be without world." Even Architecture is not separate from these issues as the communicative. A part of Professor Pezhman Mosleh speech, “Music, Anti-war, a way to Discourse” Istanbul 2016

Ronald Mace, a wheelchair user who became an architect devoted to the theory and practice of accessible architecture, is credited with introducing the term universal design to the public in 1985. In part, the coinage was strategic, recasting features of design that had been considered “special” as simply good design, resulting in products and buildings that were straightforwardly “usable by all people.

The Sumerians considered themselves destined to “clothe and feed” such gods, because they viewed themselves as the servants, in a sense, of what we would call instinctive forces, “elicited” by the “environment.” Such forces can be reasonably regarded as the Sumerians regarded them—as deities inhabiting a “supracelestial place,” extant prior to the dawn of humanity. Erotic attraction, for example—a powerful god—has a developmental history that predates the emergence of humanity, is associated with relatively “innate” releasing “stimuli” (those that characterize erotic beauty), is of terrible power, and has an existence “transcending” that of any individual who is currently “possessed.” Pan, the Greek god of nature, produced/represented fear (produced “panic”); Ares or the Roman Mars, warlike fury and aggression. We no longer personify such “instincts,” except for the purposes of literary embellishment, so we don't think of them “existing” in a “place” (like heaven, for example). But the idea that such instincts inhabit a space—and that wars occur in that space—is a metaphor of exceeding power and explanatory utility. Transpersonal motive forces do wage war with one another over vast spans of time; are each forced to come to terms with their powerful “opponents” in the intrapsychic hierarchy. The battles between the different “ways of life” (or different philosophies) that eternally characterize human societies can usefully be visualized as combat undertaken by different standards of value (and, therefore, by different hierarchies of motivation). The “forces” involved in such wars do not die, as they are “immortal”: the human beings acting as “pawns of the gods” during such times are not so fortunate.

Postmodern architecture has its own version of the pastiche or collage. As one journalist puts it, postmodernism “has brought us girders hanging unfinished out of the edges of buildings, archways cut off in space, and walls which don’t meet walls.” Ravi Zacharias describes seeing a building designed by a postmodern architect. “I had just one question,” Zacharias says. “Did he do the same with the foundation?” 5 It was an apologetics argument put in artistic terms.

What was truly specific to Nazi architecture was its crushing monumentality, which aimed to herd the people and overwhelm or stun the subjected masses, as Speer later realized. The gigantism that characterized Nazi architecture seemed to aim to crush the individual and bear down upon the people through its disproportionate size, compressing them into a compact mass so that every interstitial space that distanced or differentiated one person from another disappeared into the greater whole of an organic totalitarian entity. The political space of the democratic agon, a space "paradoxically linked to division," was destroyed. Nazi architecture created sites for the fusion of the masses and for compressing them into a single, unified subject. It was stagecraft in granite, the physical orchestration of a new type of rapport between the individual and the state in terms of the mass, whether the compact mass of stone or the more malleable mass of humanity that, gathered into columns, made the pillars and lines of this architecture even more monumental.

Now in his nineties, Spock is writing a book on spirituality. But his understanding of spirituality is a far cry from that of institutionalized religions: Spirituality, unfortunately, is not a stylish word. It’s not a word that gets used. That’s because we’re such an unspiritual country that we think of it as somewhat corny to talk about spirituality. “What is that?” people say. Spirituality, to me, means the nonmaterial things. I don’t want to give the idea that it’s something mystical; I want it to apply to ordinary people’s ordinary lives: things like love, and helpfulness, and tolerance, and enjoyment of the arts or even creativity in the arts. I think that creativity in the arts is very special. It takes a high degree and a high type of spirituality to want to express things in terms of literature or poetry, plays, architecture, gardens, creating beauty any way. And if you can’t create beauty, at least it’s good to appreciate beauty and get some enjoyment and inspiration out of it. So it’s just things that aren’t totally materialistic. And that would include religion.

In the nineteenth century, a young woman named Ellen Richards, trained in chemistry and unable to work in her field, announced the foundation of a new science she called oekology, or the science of living. This was the discipline later called domestic science or home economics, involving the effort to professionalize and dignify the work of the housewife by drawing on science and technology.* A single Greek root, oekos, has wandered through changing conceptions of human living, as well as changing fashions in spelling, producing the contemporary fields of economics and ecology, which frequently seem to be at odds. It also offers the less well-known term ekistics, coined by the city planner Constantinos Doxiadis to refer to a science of human settlement that would include the architectural creation of human spaces, their social and economic integration, and their relationship with the natural environment. Each of these latter-day coinages represents an incomplete view, but together they represent a view that includes biology and architecture, kitchens and stock exchanges, the growth of meadows and children as well as the GNP.

It is the question of "common world". The meaning of this world is not solipsism world, the world of "ego", but the world which can be actualize by my consciousness -according to relation of “ego” and caring for another in everyday life. To care for another means one lets go of self-consciousness and self-awareness and relates. We should consider human is constructed directly in term of their own consciousness and not by contrasting that consciousness with a reality independent of them, on the other hand it is constructed separate of his consciousness. So, we should surely consider the relation of human and the world. It seems that what can link these levels is “life-world” which means the idea of releasing human from worldlessness. Life-world as general sphere of individual experience in the world around (including other persons, objects and events) is a real and concrete phenomenon which has root in everyday life for obtaining its living practical purposes and objectively, considered as the basis of knowledge, interests, benefits and common links between humans. In the realm of life-world, transcendence and consciousness link to individual and group relationship and everyday life. For Heidegger consciousness proceeds from understanding, and this understanding is predicated upon our dealings in the world. Consciousness does not belong to the world, but has a practical relationship with it. What is within consciousness is the exact meaning of the word nothing. Consciousness is nothing but an opening to what they are and can only be talked about in this sense. Consciousness is the relationship we experience in praxis. As for a footballer, bodybuilding and fitness is nothing but the relationship he experiences in act, the day of the race and the subsequent races. Therefore, in this meaning, world without consciousness, intersubjectivity relationships -Alfred Schutz calls this quality as we- pure relation- and everyday life is not imaginable. Because of this matter we can't talk about the world without considering the roles of above items. "As Husserl articulated the life-world can be said to include the world of science and action can’t be without world." We should consider that thought itself arises out of incidents of living experience and must remain bound to them as the only guideposts by which to take its bearings. The artist who continually experiment the possibility of thinking and experience The new, respond to what addressed itself to him, because the new cannot be preconceived. On the other hand The new emerges through process as a shudder that presents itself to us. Even Architecture is not separate from these issues as the communicative. A part of Professor Pezhman Mosleh speech, “Music, Anti-war, a way to Discourse

A whole problematic then develops: that of an architecture that is no longer built simply to be seen (as with the ostentation of palaces), or to observe the external space (cf. the geometry of fortresses), but to permit an internal, articulated and detailed control – to render visible those who are inside it; in more general terms, an architecture that would operate to transform individuals: to act on those it shelters, to provide a hold on their conduct, to carry the effects of power right to them, to make it possible to know them, to alter them. Stones can make people docile and knowable. The old simple schema of confinement and enclosure — thick walls, a heavy gate that prevents entering or leaving — began to be replaced by the calculation of openings, of filled and empty spaces, passages and transparencies.

If the ecological community is ever achieved in practice, social life will yield a sensitive development of human and natural diversity, falling together into a well balanced, harmonious whole. Ranging from community through region to entire continents, we will see a colorful differentiation of human groups and ecosystems, each developing its unique potentialities and exposing members of the community to a wide spectrum of economic, cultural and behavioral stimuli. Falling within our purview will be an exciting, often dramatic, variety of communal forms—here marked by architectural and industrial adaptations to semi-arid ecosystems, there to grasslands, elsewhere by adaptation to forested areas. We will witness a creative interplay between individual and group , community and environment, humanity and nature. The cast of mind that today organizes differences among humans and other lifeforms along hierarchical lines, defining the external in terms of its "superiority" or "inferiority," will give way to an outlook that deals with diversity in an ecological manner. Differences among people will be respected, indeed fostered, as elements that enrich the unity of experience and phenomena. The traditional relationship which pits subject against object will be altered qualitatively; the "external," the "different," the "other" will be conceived of as individual parts of a whole all the richer because of its complexity. This sense of unity will reflect the harmonization of interests between individuals and between society and nature. Freed from an oppressive routine, from paralyzing repressions and insecurities, from the burdens of toil and false needs, from the trammels of authority and irrational compulsion, individuals will finally, for the first time in history, be in a position to realize their potentialities as members of the human community and the natural world.

As far as Serge can tell, Sophie only takes breakfast, and doesn’t even seem to eat that: each time he visits her lab over the next few days he sees sandwiches piled up virtually untouched beside glasses of lemonade that, no more than sipped at, are growing viscid bubbles on their surface like Aphrophora spumaria. Above these, on the wall, the texts, charts and diagrams are growing, spreading. Serge reads, for example, a report on the branchiae of Cercopidida, which are, apparently, “extremely tenuous, appearing like clusters of filaments forming lamellate appendages,” and scrutinises the architecture of Vespa germanica nests: their subterranean shafts and alleyways, their space-filled envelopes and alveolae … Bizarrely, Sophie’s started interspersing among these texts and images the headlines she’s torn from each day’s newspapers. These clippings seem to be caught up in her strange associative web: they, too, have certain words and letters highlighted and joined to ones among the scientific notes that, Serge presumes, must correspond to them in some way or another. One of these reads “Serbia Unsatisfied by London Treaty”; another, “Riot at Paris Ballet.” Serge can see no logical connection between these events and Sophie’s studies; yet colours and lines connect them. Arching over all of these in giant letters, each one occupying a whole sheet of paper, crayon-shaded and conjoined by lines that run over the wall itself to other terms and letter-sequences among the sprawling mesh, is the word Hymenoptera. “Hymenoptera?” Serge reads. “What’s that? It sounds quite rude.” “Sting in the tail,” she answers somewhat cryptically. “The groups contain the common ancestor, but not all the descendants. Paraphyletic: it’s all connected.” She stares at her expanded chart for a long while, lost in its vectors and relays—then, registering his continued presence with a slight twitch of her head, tells him to leave once more.

And spend they did. Money circulated faster and spread wider through its communities of use than at any other time in economic history.8 Workers labored fewer days and at higher wages than before or since; people ate four meals a day; women were taller in Europe than at any time until the 1970s; and the highest percentage on record of business profits went to preventative maintenance on equipment. It was a period of tremendous growth and wealth. Meanwhile, with no way of storing or growing value with this form of money over the long term, people made massive investments in architecture, particularly cathedrals, which they knew would attract pilgrims and tourists for years to come. This was their way of investing in the future, and the pre-Renaissance era of affluence became known as the Age of Cathedrals. The beauty of a flow-based economy is that it favors those who actively create value. The problem is that it disfavors those who are used to reaping passive rewards. Aristocratic landowning families had stayed rich for centuries simply by being rich in the first place. Peasants all worked the land in return for enough of their own harvest on which to subsist. Feudal lords did not participate in the peer-to-peer economy facilitated by local currencies, and by 1100 or so, most or the aristocracy’s wealth and power was receding. They were threatened by the rise of the merchant middle class and the growing bourgeois population, and had little way of participating in all the sideways trade. The wealthy needed a way to make money simply by having money. So, one by one, each of the early monarchies of Europe outlawed the kingdom’s local currencies and replaced them with a single central currency. Instead of growing their money in the fields, people would have to borrow money from the king’s treasury—at interest. If they wanted a medium through which to transact at the local marketplace, it meant becoming indebted to the aristocracy.

It may be cheap, but it should also be sturdy. What must be avoided at all costs is dishonest, distorted and ornate work. What must be sought is the natural, direct, simple, sturdy and safe. Confining beauty to visual appreciation and excluding the beauty of practical objects has proven to be a grave error on the part of modern man. A true appreciation of beauty cannot be fostered by ignoring practical handicrafts. After all, there is no greater opportunity for appreciating beauty than through its use in our daily lives, no greater opportunity for coming into direct contact with the beautiful. It was the tea masters who first recognized this fact. Their profound aesthetic insight came as a result of their experience with utilitarian objects. If life and beauty are treated as belonging to different realms, our aesthetic sensibilities will gradually wither and decline. It is said that someone living in proximity to a flowering garden grows insensitive to its fragrance. Likewise, when one becomes too familiar with a sight, one loses the ability to truly see it. Habit robs us of the power to perceive anew, much less the power to be moved. Thus it has taken us all these years, all these ages, to detect the beauty in common objects. The world of utility and the world of beauty are not separate realms. Users and the used have exchanged a vow: the more an object is used the more beautiful it will become and the more the user uses an object, the more the object will be used. When machines are in control, the beauty they produce is cold and shallow. It is the human hand that creates subtlety and warmth. Weakness cannot withstand the rigors of daily use. The true meaning of the tea ceremony is being forgotten. The beauty of the way of tea should be the beauty of the ordinary, the beauty of honest poverty. Equating the expensive with the beautiful cannot be a point of pride. Under the snow's reflected light creeping into the houses, beneath the dim lamplight, various types of manual work are taken up. This is how time is forgotten; this is how work absorbs the hours and days. yet there is work to do, work to be done with the hands. Once this work begins, the clock no longer measures the passage of time. The history of kogin is the history of utility being transformed into beauty. Through their own efforts, these people made their daily lives more beautiful. This is the true calling, the mission, of handicrafts. We are drawn by that beauty and we have much to learn from it. As rich as it is, America is perhaps unrivalled for its vulgar lack of propriety and decorum, which may account for its having the world's highest crime rate. The art of empty space seen in the Nanga school of monochrome painting and the abstract, free-flowing art of calligraphy have already begun to exert considerable influence on the West. Asian art represents a latent treasure trove of immense and wide-reaching value for the future and that is precisely because it presents a sharp contrast to Western art. No other country has pursued the art of imperfection as eagerly as Japan. Just as Western art and architecture owe much to the sponsorship of the House of Medici during the Reformation, tea and Noh owe much to the protection of the shogun Ashikaga Yoshimasa ( 1436-1490 ). The most brilliant era of Japanese culture, the Higashiyama period ( 1443-1490 ). Literally, sabi commonly means "loneliness" but as a Buddhist term it originally referred to the cessation of attachment. The beauty of tea is the beauty of sabi. It might also be called the beauty of poverty or in our day it might be simply be called the beauty of simplicity. The tea masters familiar with this beauty were called sukisha-ki meaning "lacking". The sukisha were masters of enjoying what was lacking.