Post-Modernism was a reaction against Modernism. It came quite early to music and literature, and a little later to architecture. And I think it's still coming to computer science.
When Washington visited Portsmouth in 1789, he was not much impressed by the architecture of the little town that had stood by him so stoutly in the struggle for independence.
If you examine this, I think that you will find that it's the mechanics of Japanese architecture that have been thought of as the direct influence upon our architecture.
So what we have tried to do in our later buildings is to try to be completely consistent, as a painter is consistent or as a sculptor is consistent. Architecture also must be very consistent.
I left science, then I went into art, but I approach things very analytically. I choose to pursue both art and architecture as completely separate fields rather than merging them.
I do speak Mandarin, and I also relate to the hunger that China has for culture and architecture and style.
I've always been attracted to classic patterns in architecture, music and drama.
The first thing you must know as an actor or director is the space you will inhabit. See the architecture; imagine where things can happen in space.
Painting, sculpture and architecture are finished, but the art habit continues.
The thing is that when you are a director, you need to be involved in a lot of different fields. You must be a psychologist, an architecture expert; you must be a choreographer.
Nothing is as dangerous in architecture as dealing with separated problems. If we split life into separated problems we split the possibilities to make good building art.
God created paper for the purpose of drawing architecture on it. Everything else is, at least for me, an abuse of paper.
Downtown Toronto is a very good place to talk about the neutrality of modernist architecture. I'm sure this kind of box-building was interesting in the Twenties, Thirties and Forties, but I think it's absolutely ridiculous to build like this in 2013.
Architecture was pretty much the sexiest thing to be doing from 1700-1800.
I would have liked maybe to be in architecture or painting, something connected to the fine arts.
I don't know why I've always been so captivated by architecture.
I didn't even have a clear idea of why I wanted to go to Oxford - apart from the fact I had fallen in love with the architecture. It certainly wasn't out of some great sense of academic or intellectual achievement. In many ways, my education only began after I'd left university.
After I finished school, I went to JJ College of Architecture and then to Harvard. I did my B.A. with a major in filmmaking.
Clothing has been called intimate architecture. We want to go beyond that.
I see only one requirement you have to have to be a director or any kind of artist: rhythm. Rhythm, for me, is everything. Without rhythm, there's no music. Without rhythm, there's no cinema. Without rhythm, there's no architecture.