Architecture Motivational Quotes

The most incredible architecture Is the architecture of Self, which is ever changing, evolving, revolving and has unlimited beauty and light inside which radiates outwards for everyone to see and feel. With every in breathe you are adding to your life and every out breathe you are releasing what is not contributing to your life. Every breathe is a re-birth.

Even a brick wants to be something. A brick wants to be something. It aspires. Even a common, ordinary brick... wants to be something more than it is. It wants to be something better than it is.

Its substance was known to me. The crawling infinity of colours, the chaos of textures that went into each strand of that eternally complex tapestry…each one resonated under the step of the dancing mad god, vibrating and sending little echoes of bravery, or hunger, or architecture, or argument, or cabbage or murder or concrete across the aether. The weft of starlings’ motivations connected to the thick, sticky strand of a young thief’s laugh. The fibres stretched taut and glued themselves solidly to a third line, its silk made from the angles of seven flying buttresses to a cathedral roof. The plait disappeared into the enormity of possible spaces. Every intention, interaction, motivation, every colour, every body, every action and reaction, every piece of physical reality and the thoughts that it engendered, every connection made, every nuanced moment of history and potentiality, every toothache and flagstone, every emotion and birth and banknote, every possible thing ever is woven into that limitless, sprawling web. It is without beginning or end. It is complex to a degree that humbles the mind. It is a work of such beauty that my soul wept... ..I have danced with the spider. I have cut a caper with the dancing mad god.

Let your projects be independent organisms. They will develop their own beautiful architecture.

When you keep a secret from those closest to you, even with the best of motives, there is a danger that you will create a smaller life within your main life. The first secret will spin off other secrets that also must be kept, complicated webs of evasion that grow into elaborate architectures of repressed truths and subterfuge, until you discover that you must live two narratives at once. Because deception requires both bold lies and lies of omission, it stains the soul, muddies the conscience, blurs the vision, and puts you at risk of headlong descent into greater darkness.

Simple is complicated.

When you keep a secret from those closest to you, even with the best of motives, there is a danger that you will create a smaller life within your main life. The first secret will spin off other secrets that also must be kept, complicated webs of evasion that grow into elaborate architectures of repressed truths and subterfuge, until you discover that you must live two narratives at once.

The modern mind, which regards itself as having transcended the domain of the magical, is nonetheless still endlessly capable of “irrational” (read motivated) reactions. We fall under the spell of experience whenever we attribute our frustration, aggression, devotion or lust to the person or situation that exists as the proximal “cause” of such agitation. We are not yet “objective,” even in our most clear-headed moments (and thank God for that).

Anything that interferes with such attainment (little old ladies with canes) will be experienced as threatening and/or punishing; anything that signifies increased likelihood of success (open stretches of sidewalk) will be experienced as promising or satisfying. It is for this reason that the Buddhists believe that everything is Maya, or illusion: the motivational significance of ongoing events is clearly determined by the nature of the goal toward which behavior is devoted

The news filled me with such euphoria that for an instant I was numb. My ingrained self-censorship immediately started working: I registered the fact that there was an orgy of weeping going on around me, and that I had to come up with some suitable performance. There seemed nowhere to hide my lack of correct emotion except the shoulder of the woman in front of me, one of the student officials, who was apparently heartbroken. I swiftly buried my head in her shoulder and heaved appropriately. As so often in China, a bit of ritual did the trick. Sniveling heartily she made a movement as though she was going to turn around and embrace me I pressed my whole weight on her from behind to keep her in her place, hoping to give the impression that I was in a state of abandoned grief. In the days after Mao's death, I did a lot of thinking. I knew he was considered a philosopher, and I tried to think what his 'philosophy' really was. It seemed to me that its central principle was the need or the desire? for perpetual conflict. The core of his thinking seemed to be that human struggles were the motivating force of history and that in order to make history 'class enemies' had to be continuously created en masse. I wondered whether there were any other philosophers whose theories had led to the suffering and death of so many. I thought of the terror and misery to which the Chinese population had been subjected. For what? But Mao's theory might just be the extension of his personality. He was, it seemed to me, really a restless fight promoter by nature, and good at it. He understood ugly human instincts such as envy and resentment, and knew how to mobilize them for his ends. He ruled by getting people to hate each other. In doing so, he got ordinary Chinese to carry out many of the tasks undertaken in other dictatorships by professional elites. Mao had managed to turn the people into the ultimate weapon of dictatorship. That was why under him there was no real equivalent of the KGB in China. There was no need. In bringing out and nourishing the worst in people, Mao had created a moral wasteland and a land of hatred. But how much individual responsibility ordinary people should share, I could not decide. The other hallmark of Maoism, it seemed to me, was the reign of ignorance. Because of his calculation that the cultured class were an easy target for a population that was largely illiterate, because of his own deep resentment of formal education and the educated, because of his megalomania, which led to his scorn for the great figures of Chinese culture, and because of his contempt for the areas of Chinese civilization that he did not understand, such as architecture, art, and music, Mao destroyed much of the country's cultural heritage. He left behind not only a brutalized nation, but also an ugly land with little of its past glory remaining or appreciated. The Chinese seemed to be mourning Mao in a heartfelt fashion. But I wondered how many of their tears were genuine. People had practiced acting to such a degree that they confused it with their true feelings. Weeping for Mao was perhaps just another programmed act in their programmed lives. Yet the mood of the nation was unmistakably against continuing Mao's policies. Less than a month after his death, on 6 October, Mme Mao was arrested, along with the other members of the Gang of Four. They had no support from anyone not the army, not the police, not even their own guards. They had had only Mao. The Gang of Four had held power only because it was really a Gang of Five. When I heard about the ease with which the Four had been removed, I felt a wave of sadness. How could such a small group of second-rate tyrants ravage 900 million people for so long? But my main feeling was joy. The last tyrants of the Cultural Revolution were finally gone.

The idea of self-denial for the sake of posterity, of practicing present economy for the sake of debtors yet unborn, of planting forests that our descendants may live under their shade … never I suppose, efficiently takes place among publicly recognized motives of exertion. Yet these are not the less our duties; nor is our part fitly sustained upon the earth, unless the range of our intended and deliberate usefulness include, not only the companions but the successors of our pilgrimage. God has lent us the earth for our life; it is a great entail. It belongs as much to those who are to come after us … as to us; we have no right, by anything that we do or neglect, to involve them in unnecessary penalties, or deprive them of benefits which it was in our power to bequeath.

When you keep a secret from those closest to you, even with the best of motives, there's a danger that you will create a smaller life within your main life. The first secret will spin off other secrets that also must be kept, complicated webs of evasion that grow into elaborate architectures of repressed truths and subterfuge, until you discover that you must live two narratives at once. Because deception requires both bold lies and lies of omission, it's stains the soil, muddies the conscience, blurs the vision, and puts you at risk of headlong descent into darkness.

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.

But trivial as are the topics they are not utterly without a connecting thread of motive. As the reader's eye strays, with hearty relief, from these pages, it probably alights on something, a bed-post or a lamp-post, a window blind or a wall. It is a thousand to one that the reader is looking at something that he has never seen: that is, never realised. He could not write an essay on such a post or wall: he does not know what the post or wall mean. He could not even write the synopsis of an essay; as "The Bed-Post; Its Significance—Security Essential to Idea of Sleep—Night Felt as Infinite—Need of Monumental Architecture," and so on. He could not sketch in outline his theoretic attitude towards window-blinds, even in the form of a summary. "The Window-Blind—Its Analogy to the Curtain and Veil—Is Modesty Natural?—Worship of and Avoidance of the Sun, etc., etc." None of us think enough of these things on which the eye rests. But don't let us let the eye rest. Why should the eye be so lazy? Let us exercise the eye until it learns to see startling facts that run across the landscape as plain as a painted fence. Let us be ocular athletes. Let us learn to write essays on a stray cat or a coloured cloud. I have attempted some such thing in what follows; but anyone else may do it better, if anyone else will only try.

Jobs’s reluctance to make the Mac compatible with the architecture of the Lisa was motivated by more than rivalry or revenge. There was a philosophical component, one that was related to his penchant for control. He believed that for a computer to be truly great, its hardware and its software had to be tightly linked. When a computer was open to running software that also worked on other computers, it would end up sacrificing some functionality. The best products, he believed, were “whole widgets” that were designed end-to-end, with the software closely tailored to the hardware and vice versa. This is what would distinguish the Macintosh, which had an operating system that worked only on its own hardware, from the environment that Microsoft was creating, in which its operating system could be used on hardware made by many different companies.

Militant atheists seek to discredit religion based on a highly selective reading of history. There was a time not long ago—just a couple of centuries—when the Western world was saturated by religion. Militant atheists are quick to attribute many of the most unfortunate aspects of history to religion, yet rarely concede the immense debt that civilization owes to various monotheist religions, which created some of the world’s greatest literature, art, and architecture; led the movement to abolish slavery; and fostered the development of science and technology. One should not invalidate these achievements merely because they were developed for religious purposes. If much of science was originally a religious endeavor, does that mean science is not valuable? Is religiously motivated charity not genuine? Is art any less beautiful because it was created to express devotion to God? To regret religion is to regret our civilization and its achievements.

The world can be validly construed as a forum for action, as well as a place of things. We describe the world as a place of things, using the formal methods of science. The techniques of narrative, however – myth, literature, and drama – portray the world as a forum for action. The two forms of representation have been unnecessarily set at odds, because we have not yet formed a clear picture of their respective domains. The domain of the former is the 'objective world' – what is, from the perspective of intersubjective perception. The domain of the latter is 'the world of value' – what is and what should be, from the perspective of emotion and action. The world as forum for action is 'composed,' essentially, of three constituent elements, which tend to manifest themselves in typical patterns of metaphoric representation. First is unexplored territory – the Great Mother, nature, creative and destructive, source and final resting place of all determinate things. Second is explored territory – the Great Father, culture, protective and tyrannical, cumulative ancestral wisdom. Third is the process that mediates between unexplored and explored territory – the Divine Son, the archetypal individual, creative exploratory 'Word' and vengeful adversary. We are adapted to this 'world of divine characters,' much as the 'objective world.' The fact of this adaptation implies that the environment is in 'reality' a forum for action, as well as a place of things. Unprotected exposure to unexplored territory produces fear. The individual is protected from such fear as a consequence of 'ritual imitation of the Great Father' – as a consequence of the adoption of group identity, which restricts the meaning of things, and confers predictability on social interactions. When identification with the group is made absolute, however – when everything has to be controlled, when the unknown is no longer allowed to exist – the creative exploratory process that updates the group can no longer manifest itself. This 'restriction of adaptive capacity' dramatically increases the probability of social aggression and chaos. Rejection of the unknown is tantamount to 'identification with the devil,' the mythological counterpart and eternal adversary of the world-creating exploratory hero. Such rejection and identification is a consequence of Luciferian pride, which states: all that I know is all that is necessary to know. This pride is totalitarian assumption of omniscience – is adoption of 'God’s place' by 'reason' – is something that inevitably generates a state of personal and social being indistinguishable from hell. This hell develops because creative exploration – impossible, without (humble) acknowledgment of the unknown – constitutes the process that constructs and maintains the protective adaptive structure that gives life much of its acceptable meaning. 'Identification with the devil' amplifies the dangers inherent in group identification, which tends of its own accord towards pathological stultification. Loyalty to personal interest – subjective meaning – can serve as an antidote to the overwhelming temptation constantly posed by the possibility of denying anomaly. Personal interest – subjective meaning – reveals itself at the juncture of explored and unexplored territory, and is indicative of participation in the process that ensures continued healthy individual and societal adaptation. Loyalty to personal interest is equivalent to identification with the archetypal hero – the 'savior' – who upholds his association with the creative 'Word' in the face of death, and in spite of group pressure to conform. Identification with the hero serves to decrease the unbearable motivational valence of the unknown; furthermore, provides the individual with a standpoint that simultaneously transcends and maintains the group.

Association of dissimilar ideas “I had earlier devised an arrangement for beam steering on the two-mile accelerator which reduced the amount of hardware necessary by a factor of two…. Two weeks ago it was pointed out to me that this scheme would steer the beam into the wall and therefore was unacceptable. During the session, I looked at the schematic and asked myself how could we retain the factor of two but avoid steering into the wall. Again a flash of inspiration, in which I thought of the word ‘alternate.’ I followed this to its logical conclusion, which was to alternate polarities sector by sector so the steering bias would not add but cancel. I was extremely impressed with this solution and the way it came to me.” “Most of the insights come by association.” “It was the last idea that I thought was remarkable because of the way in which it developed. This idea was the result of a fantasy that occurred during Wagner…. [The participant had earlier listened to Wagner’s ‘Ride of the Valkyries.’] I put down a line which seemed to embody this…. I later made the handle which my sketches suggested and it had exactly the quality I was looking for…. I was very amused at the ease with which all of this was done.” 10. Heightened motivation to obtain closure “Had tremendous desire to obtain an elegant solution (the most for the least).” “All known constraints about the problem were simultaneously imposed as I hunted for possible solutions. It was like an analog computer whose output could not deviate from what was desired and whose input was continually perturbed with the inclination toward achieving the output.” “It was almost an awareness of the ‘degree of perfection’ of whatever I was doing.” “In what seemed like ten minutes, I had completed the problem, having what I considered (and still consider) a classic solution.” 11. Visualizing the completed solution “I looked at the paper I was to draw on. I was completely blank. I knew that I would work with a property three hundred feet square. I drew the property lines (at a scale of one inch to forty feet), and I looked at the outlines. I was blank…. Suddenly I saw the finished project. [The project was a shopping center specializing in arts and crafts.] I did some quick calculations …it would fit on the property and not only that …it would meet the cost and income requirements …it would park enough cars …it met all the requirements. It was contemporary architecture with the richness of a cultural heritage …it used history and experience but did not copy it.” “I visualized the result I wanted and subsequently brought the variables into play which could bring that result about. I had great visual (mental) perceptibility; I could imagine what was wanted, needed, or not possible with almost no effort. I was amazed at my idealism, my visual perception, and the rapidity with which I could operate.

When he started to build at Tivoli Hadrian may have been motivated by the idea of extending the much simpler villa which was already owned by Sabina’s family in a manner he considered appropriate to his new status. No doubt the design evolved over time and was very different in its final state from what had been intended at its inception. Certainly its collections were enriched by the emperor’s travels; by the time the villa’s 900 rooms were completed, it was one of the most extraordinary contributions to art and architecture that the Roman world had ever seen.

Isaac’s wife Salina “caught religion” when the Presbyterian produced an eclipse of the sun, and although she was most partial to the Baptist, she attended all the church services in Stay More, and Isaac sometimes accompanied her out of curiosity, which is the bottom rung on the ladder of motives for going to church, the other rungs being, in ascending hierarchy: 2, being too timid to refuse, 3, a sense of duty, 4, a desire to mingle with others, 5, a desire to learn the means of salvation, 6, a desire to be saved, 7, lust for paradise in the hereafter, 8, schizophrenic need to need, 9, insanity, and 10, sainthood.

Over the last decade, entire neighbourhoods have lost their identity to the ever-growing clothing retail market. Since my first visit to the Marais quarter of Paris in 2003, I have seen the area shift from a charming, off-beat district featuring a mix of up-and-coming designers, traditional ateliers, bookstores and boulangeries to what amounts to an open-air shopping mall dominated by international brands. In the last five years, an antique shop has been replaced by a chic clothing store and the last neighbourhood supermarket transformed into a threestorey flagship of one of the clothing giants. The old quarter is now only faintly visible, like writing on a medieval palimpsest: overhanging the gleaming sign of a sleek clothes shop, on a faded ceramic fascia board, is written ‘BOULANGERIE’. In economically developed countries, people’s motivations for spending money have long since shifted from needs to desires. There’s no denying we need places to live in, food to nourish us and clothes to dress ourselves in, and, while we’re at it, we might as well do these things with a certain degree of refinement to help make life as pleasurable as possible. But when did the clothing industry turn into little more than a cash machine whose main purpose seems to be its own never-ending growth? Just as clothing retail shops are sucking the identity out of entire neighbourhoods, so that the architecture becomes little more than a backdrop for their products, the production of the garments they sell is eating away at the Earth’s resources and the life of the workers who are producing them. Fashion has become the second most polluting industry in the world. And with what result? Our wardrobes are cluttered with so many clothes that the mere sight of them becomes overwhelming, yet at the same time we feel a constant craving for the next purchase that will transform our look.

ANNE THORNDIKE, A primary care physician at Massachusetts General Hospital in Boston, had a crazy idea. She believed she could improve the eating habits of thousands of hospital staff and visitors without changing their willpower or motivation in the slightest way. In fact, she didn’t plan on talking to them at all. Thorndike and her colleagues designed a six-month study to alter the “choice architecture” of the hospital cafeteria. They started by changing how drinks were arranged in the room. Originally, the refrigerators located next to the cash registers in the cafeteria were filled with only soda. The researchers added water as an option to each one. Additionally, they placed baskets of bottled water next to the food stations throughout the room. Soda was still in the primary refrigerators, but water was now available at all drink locations. Over the next three months, the number of soda sales at the hospital dropped by 11.4 percent. Meanwhile, sales of bottled water increased by 25.8 percent. They made similar adjustments—and saw similar results—with the food in the cafeteria. Nobody had said a word to anyone eating there. BEFORE AFTER FIGURE 8: Here is a representation of what the cafeteria looked like before the environment design changes were made (left) and after (right). The shaded boxes indicate areas where bottled water was available in each instance. Because the amount of water in the environment was increased, behavior shifted naturally and without additional motivation. People often choose products not because of what they are, but because of where they are. If I walk into the kitchen and see a plate of cookies on the counter, I’ll pick up half a dozen and start eating, even if I hadn’t been thinking about them beforehand and didn’t necessarily feel hungry. If the communal table at the office is always filled with doughnuts and bagels, it’s going to be hard not to grab one every now and then. Your habits change depending on the room you are in and the cues in front of you.

Regarding Notre Dame cathedral: "He could see the huge rose window that had, incredibly, survived the fire. It looked, behind the works, like a giant third eye. Gazing perpetually out at the City of Light and its citizens, while also gazing inward, at their motivations, their characters, their hearts and souls.

Despite mournful envy and Dejected wrath, We bask under blue skies, Bewitching stars, And mystical moons, Loving rumbles of thunder, Glistening raindrops, And a hazy peaceful sunrise. In the face of Sorrowful greed, We delight in magnificent mountains, Bountiful oceans, Turquoise lagoons, Beautiful blossoms, And the green, green grass Of springtime. Through raging anger, Aching sadness, We treasure radiant sunsets, Seek marble courtyards, Ancient architecture, And splendid arched bridges. We sing the praises of Breathtaking falls. Even crushed And bewildered, We are captivated by Exquisite winged creatures, Tropical forests, And the critters we nurture. We embrace the power in our divinity And the superb magic of everything. With every threat to the world We belong to And embrace, We revel in books and dreams. We’re mesmerized by Otherworldly visions And plentiful hues. We cherish The light in ever-curious Truth seekers, And are ever grateful For smiles, Rapturous affection, Laughter, And love.

This is perhaps the most fundamental idea of semiology and meaning in architecture: the idea that any form in the environment, or sign in language, is motivated, or capable of being motivated. It helps to explain why all of a sudden forms come alive or fall into bits. For it contends that, although a form may be initially arbitrary or non-motivated as Saussure points out, its subsequent use is motivated or based on some determinants. Or we can take a slightly different point of view and say that the minute a new form is invented it will acquire, inevitably, a meaning.

I lacked the craft and dexterity to match my narrative intoxication. But the son montunos and Mozart of my adolescence offered themselves anew, this time as dramaturgical structures. Fugues and batá songs had sturdy architectures. Bach gave me motivic momentum. Batá gave me slow-build suspense. One scene ended tempestuously, raucously. What next, after all that explosion, how to start anew? Schubert offered clues. There lay the answer in his A-major sonata, the one I’d recorded at Yale. After fortissimo, a note or two to test the water. After cacophony, a single solitary melodic line.

The Earth Architecture is designed in a way that no Human is powerful, only someone can pretend to be.

In the architecture of our lives, every setback is a ruin awaiting transformation into a cornerstone of success.

time. A new interdisciplinary community of scientists, environmentalists, health researchers, therapists, and artists is coalescing around an idea: neuroconservation. Embracing the notion that we treasure what we love, those concerned with water and the future of the planet now suggest that, as we understand our emotional well-being and its relationship to water, we are more motivated to repair, restore, and renew waterways and watersheds. Indeed, even as water is threatened, or perhaps because of the threat, public interest in water is very high. We treasure it—or, perhaps more accurately, we spend our treasure to access water for pleasure, recreation, and healing. Wealthy people pay a premium for houses on water, and the not so wealthy pay extra for rentals and hotel rooms sited at the oceanfront, on rivers, or at lakes. Those into outdoor sports, especially fishers and hunters, are fiercely protective of it and have founded numerous environmental organizations designed to protect water habitats for fish, birds, and animals. Over the last two decades, spas have become a sort of modern equivalent to ancient healing wells. As an industry, spas are a global business worth about $60 billion, and they generate another $200 billion in tourism. In 2013, there were 20,000 (up from 4,000 in 1999) spas in the United States producing an annual revenue of over $14 billion (a figure that has grown every year for fifteen years, including those of the recession), and tallying 164 million spa visits by clients.12 Ecotourism provides water adventures and guided trips, often in kayaks, rafts, or canoes. Ocean and river cruises are big business. Cities are creating urban architectures focused on waterscapes, happiness, and sustainability. Museums and public memorials of all sorts often feature water to foster reflection and meditation. And many communities are working to transform industrialized and polluted waterfronts into spaces that are pleasant, environmentally sound, and livable.

Users aren’t motivated by first understanding the environment. They’re too busy just getting things done, and in fact they tend to improvise as they go, often using the environment in different ways than intended by designers.[

Is it wrong of me to question whether the construction of cathedrals is, as we approach the twenty-first century, the best use of countless millions of dollars and the effort of generations of people? I agree that a project lasting longer than a human life span provides its participants with aspirations beyond the temporal. I even understand the motivation for carving a cathedral out of the Earth’s substrate, to create a testament to both human and divine architecture. But for me, science is the true modern cathedral, an edifice of knowledge every bit as majestic as anything made of stone. It fulfills all the goals that Yosemeti Cathedral does and more, and I wish more people appreciated that.

The known, our current story, protects us from the unknown, from chaos—which is to say, provides our experience with determinate and predictable structure. Chaos has a nature all of its own. That nature is experienced as affective valence, at first exposure, not as objective property. If something unknown or unpredictable occurs, while we are carrying out our motivated plans, we are first surprised. That surprise—which is a combination of apprehension and curiosity—comprises our instinctive emotional response to the occurrence of something we did not desire. The appearance of something unexpected is proof that we do not know how to act—by definition, as it is the production of what we want that we use as evidence for the integrity of our knowledge. If we are somewhere we don’t know how to act, we are (probably) in trouble—we might learn something new, but we are still in trouble.

Asylums became haunted by what happened inside their walls and also by the walls themselves: an architecture that was purposely boastful but which spoke of a previous generation with different ideals, economic motives, and attitudes toward the sick. The moment when we were most optimistic about our ability to cure the mind is when we built our most ostentatious palaces to psychiatry. There is a danger, then, in telegraphing too prominently one's utopian ideals via architecture. We design buildings not only for their utilitarian values but to project ideals and reflect our shared values. But these ideals and values are prone to change faster than the buildings. Shifting political fortunes, vacillating periods of excess and austerity, evolving attitudes about how the government should best serve its population -- these all tend to move much faster than the time it takes for a building to outlive its usefulness.

This was a startup. We worked 70 to 80 hours per week. We had the vision. We had the motivation. We had the will. We had the energy. We had the expertise. We had equity. We had dreams of being millionaires. We were full of shit. The C code poured out of every orifice of our bodies. We slammed it here, and shoved it there. We constructed huge castles in the air. We had processes, and message queues, and grand, superlative architectures. We wrote a full seven-layer ISO communications stack from scratch—right down to the data link layer. We wrote GUI code. GOOEY CODE! OMG! We wrote GOOOOOEY code. I personally wrote a 3000-line C function named gi(); its name stood for Graphic Interpreter. It was a masterpiece of goo. It was not the only goo I wrote at Clear, but it was my most infamous. Architecture? Are you joking? This was a startup. We didn’t have time for architecture. Just code, dammit! Code for your very lives!

Andy Hertzfeld: The most important thing really is the motivation. Why are you doing what you’re doing? That seeps into the product at every level, even though you think it might not. Your basic values are essentially the architecture of the project. Why does it exist? And in Silicon Valley there are two really common sets of values. There are what I call financial values, where the main thing is to make a bunch of money. That’s not a really good spiritual reason to be working on a project, although it’s completely valid. Then there are technical values that dominate lots of places where people care about using the best technique—doing things right. Sometimes that translates to ability or to performance, but it’s really a technical way of looking at things. But then there is a third set of values that are much less common: and they are the values essentially of the art world or the artist. And artistic values are when you want to create something new under the sun. If you want to contribute to art, your technique isn’t what matters. What matters is originality. It’s an emotional value.

Specific Architectural Topics Is the overall organization of the program clear, including a good architectural overview and justification? Are major building blocks well defined, including their areas of responsibility and their interfaces to other building blocks? Are all the functions listed in the requirements covered sensibly, by neither too many nor too few building blocks? Are the most critical classes described and justified? Is the data design described and justified? Is the database organization and content specified? Are all key business rules identified and their impact on the system described? Is a strategy for the user interface design described? Is the user interface modularized so that changes in it won’t affect the rest of the program? Is a strategy for handling I/O described and justified? Are resource-use estimates and a strategy for resource management described and justified for scarce resources like threads, database connections, handles, network bandwidth, and so on? Are the architecture’s security requirements described? Does the architecture set space and speed budgets for each class, subsystem, or functionality area? Does the architecture describe how scalability will be achieved? Does the architecture address interoperability? Is a strategy for internationalization/localization described? Is a coherent error-handling strategy provided? Is the approach to fault tolerance defined (if any is needed)? Has technical feasibility of all parts of the system been established? Is an approach to overengineering specified? Are necessary buy-vs.-build decisions included? Does the architecture describe how reused code will be made to conform to other architectural objectives? Is the architecture designed to accommodate likely changes? General Architectural Quality Does the architecture account for all the requirements? Is any part overarchitected or underarchitected? Are expectations in this area set out explicitly? Does the whole architecture hang together conceptually? Is the top-level design independent of the machine and language that will be used to implement it? Are the motivations for all major decisions provided? Are you, as a programmer who will implement the system, comfortable with the architecture?

The men who have accumulated great fortunes and achieved outstanding recognition in literature, art, industry, architecture, and the professions, were motivated by the influence of a woman.