Cubes Architecture Quotes

Elephanta caves, Mumbai-- I entered a world made of shadows and sudden brightness. The play of the light, the vastness of the space and its irregular form, the figures carved on the walls: all of it gave the place a sacred character, sacred in the deepest meaning of the word. In the shadows were the powerful reliefs and statues, many of them mutilated by the fanaticism of the Portuguese and the Muslims, but all of them majestic, solid, made of a solar material. Corporeal beauty, turned into living stone. Divinities of the earth, sexual incarnations of the most abstract thought, gods that were simultaneously intellectual and carnal, terrible and peaceful. ............................................................................ Gothic architecture is the music turned to stone; one could say that Hindu architecture is sculpted dance. The Absolute, the principle in whose matrix all contradictions dissolve (Brahma), is “neither this nor this nor this.” It is the way in which the great temples at Ellora, Ajanta, Karli, and other sites were built, carved out of mountains. In Islamic architecture, nothing is sculptural—exactly the opposite of the Hindu. The Red Fort, on the bank of the wide Jamuna River, is as powerful as a fort and as graceful as a palace. It is difficult to think of another tower that combines the height, solidity, and slender elegance of the Qutab Minar. The reddish stone, contrasting with the transparency of the air and the blue of the sky, gives the monument a vertical dynamism, like a huge rocket aimed at the stars. The mausoleum is like a poem made not of words but of trees, pools, avenues of sand and flowers: strict meters that cross and recross in angles that are obvious but no less surprising rhymes. Everything has been transformed into a construction made of cubes, hemispheres, and arcs: the universe reduced to its essential geometric elements. The abolition of time turned into space, space turned into a collection of shapes that are simultaneously solid and light, creations of another space, made of air. There is nothing terrifying in these tombs: they give the sensation of infinity and pacify the soul. The simplicity and harmony of their forms satisfy one of the most profound necessities of the spirit: the longing for order, the love of proportion. At the same time they arouse our fantasies. These monuments and gardens incite us to dream and to fly. They are magic carpets. Compare Ellora with the Taj Mahal, or the frescoes of Ajanta with Mughal miniatures. These are not distinct artistic styles, but rather two different visions of the world.

Then, the stunningly white cubes that make up the Getty Museum. It’s an architectural masterpiece funded by a venal billionaire’s trust, housing third-rate art. Pure L.A.: might makes right and packaging is all. Traffic

Les muqarnas ont un caractère à la fois statique et rythmique, ce qui apparaît plus clairement si l’on compare le rapport dôme/soubassement ou sphère/cube avec son modèle cosmique qui n’est autre que le rapport ciel/terre, le ciel étant caractérisé par son mouvement circulaire indéfini et la terre par son immobilité et par sa polarisation en contrastes tels le chaud et le froid, l’humidité et le sec. L’alvéole des muqarnas reliant la coupole à son soubassement quadrangulaire est alors comme une résonance du mouvement céleste dans l’ordre terrestre. Mais l’immobilité de l’élément cube peut également avoir le sens de l’achèvement, de l’état définitif et intemporel du monde, et ce sens convient mieux à l’architecture d’un sanctuaire. Dans ce cas, l’alvéole des muqarnas exprime une coagulation du mouvement cosmique, sa cristallisation dans le pur.

I peep through her ocean telescope and look up through the atmospheres. All this modern underwater architecture, lit up with bioluminescence. Condos, aqua resorts, plazas, lighted vac tubes connecting them all. Like a twenty-first century skyline flipped upside down and dropped into the ocean. Refuse drones designed to look like yeti crabs claw out of septic cubes and scurry to the surface, flexing their mechanical limbs. Everything is hydropowered, motion-powered, geo-powered. Sewage, heated and pressurized into biodiesel. Holographic ads circle their gilded prey, telling people they can somehow live forever while looking like a million bucks. The underwater city is always on, data-scavenging all our habits and using the info to create a more efficient place. An underwater panoramic, lubricated by the grease of America.

It doesn’t take a huge amount of knowledge and skill to get a program working. Kids in high school do it all the time. Getting it right is another matter entirely. And when you get the software right, something magical happens: You don’t need hordes of programmers to keep it working. You don’t need massive requirements documents and huge issue tracking systems. You don’t need global cube farms and 24/7 programming. When software is done right, it requires a fraction of the human resources to create and maintain.

It would almost appear that he who first built the Kaaba - for since the time of Abraham the original structure has been rebuilt several times in the same shape - wanted to create a parable of man’s humility before God. The builder knew that no beauty of architectural rhythm and no perfection of line, however great, could ever do justice to the idea of God: and so he confined himself to the simplest three-dimensional form imaginable - a cube of stone...never had I felt so strongly as now, before the Kaaba, that the hand of the builder had come so close to his religious conception. In the utter simplicity of a cube, in the complete renunciation of all beauty of line and form, spoke this thought: ‘Whatever beauty man may be able to create with his hands, it will be only conceit to deem it worthy of God; therefore, the simplest that man can conceive is the greatest that he can do to express the glory of God.’ A similar feeling may have been responsible for the mathematical simplicity of the Egyptian pyramids - although there man’s conceit had at least found a vent in the tremendous dimensions he gave to his buildings. But here, in the Kaaba, even the size spoke of human renunciation and self-surrender; and the proud modesty of this little structure had no compare on earth.

For instance, Le Corbusier and Amedee Ozenfant proposed a theory of painting and architecture which would be based primarily on Platonic forms: cones, spheres, cylinders, cubes, etc. They argued that only these simple forms were universal, and that they would in fact set off "identical sensations" in "everyone on earth- a Frenchman, a Negro, a Laplander”. In essence they were arguing for a universal language of the emotions- Purisme which would cut through the Babel of contending, eclectic languages. The individual words of this language would be the psychophysical constants found by psychologists. A flat line would mean "repose," a blue color "sadness,'' a jagged, diagonal line "activity,'' and so on until the whole gamut of emotions” (82>83) had been built up. They argued, as Plato often did, that nature had constructed within us a fixed language based on efficiency, geometry and function; this language of the emotions was the most economical and pure one-hence Purisme.

Of all forms, the cube and the hemisphere are the most sacred…