Owen Williams, “On Engineering Beauty,” 1927
Traditionally and habitually the engineer approaches with some temerity the question of beauty. I think it could be established that the ugliest factories, not to say other buildings, are to be found amongst those where beauty has been consciously courted. I count as priggishness the conscious attempt to achieve beauty – much as though a man set out to be a beautiful character, instead of an honest man. ... To build factories and other buildings, we must be the humble, if articulate, servants of materials and things, and if we must be masters, then be masters of ourselves.
We still have essentially the gung ho, Wild West way of doing business in this country, where we think we are the master of nature. Fighting, building barriers, instead of accommodating the ocean.
Klaus Jacob, “The New York of the Not-Too-Distant-Future,” 2016
As long as I breathe I hope. As long as I breathe I shall fight for the future, that radiant future, in which man, strong and beautiful, will become master of the drifting stream of his history and will direct it towards the boundless horizons of beauty, joy and happiness!
One of the most conspicuous things about today’s young creators is their tendency to construct a multiplicity of artistic identities. You’re a musician and a photographer and a poet; a storyteller and a dancer and a designer—a multiplatform artist, in the term one sometimes sees. Which means that you haven’t got time for your 10,000 hours in any of your chosen media. But technique or expertise is not the point. The point is versatility. Like any good business, you try to diversify. What we see in the new paradigm—in both the artist’s external relationships and her internal creative capacity—is what we see throughout the culture: the displacement of depth by breadth.
In the beginner's mind there are many possibilities, but in the expert's there are few.
Shunryu Suzuki, Zen Mind, Beginner's Mind, c. 1960
The building itself stands alone, in complete solitude. No more polemical statements, no more trouble. It has acquired its definitive condition, it will remain forever, master of itself.
Rafael Moneo, "On the Museum for Roman Artifacts," Merida, Spain, 1984
The slave master, the capitalist entertainer, the pimp and the racist scientist are the four aspects of the same figure of the colonialist. This dominating figure wants to simultaneously have access to free or under-payed (wo)manpower, to develop an economy of spectacle to its bourgeois audience, to subjugate the colonized body to his desire and eventually to justify the system of rationality he uses to legitimatize his acts through the fallacious construction of an ideology that excludes the colonized body from the realms of human beings entitled to rights.
Rankings create order where there is chaos. They enumerate the innumerable variety of the world and give us a small sense of mastery over our environment.
Nick Kahler vs. Google Ngram Viewer, Old Masters, 1800-2000
- Daedalus Vitruvius Imhotep Suger
- Alberti Brunelleschi Sangallo Bramante
- Romano Palladio Porta Peruzzi
- Cortona Bernini Borromini Fontana
- Jones Wren Vanbrugh Hawksmoor
- Bulfinch Renwick Latrobe Davis
- Hunt Richardson Furness McKim
- Sullivan Burnham Holabird Jenney
- Corbusier Wright Gropius Mies
- Loos Neutra Gaudi Velde
Accordingly, the first body, the Yliaster, was nothing but a clod which contained all the chaos, all the waters, all minerals, all herbs, all stones, all gems. Only the supreme Master could release them and form them with tender solicitude, so that other things could be created from the rest.
Paracelsus, "On the Yliaster," c. 1535
Eero Saarinen and Kevin Roche Working on the TWA Terminal in their Office, c. 1955
Architects endure all the difficulties involved in raising buildings -artifacts that perhaps at first can be said to reflect our intentions, express our desires and represent the problems we dicuss in schools. For a time, we regardour buildings as mirrors; in their reflection we recognize who we are, and eventually who we were. We are tempted to think that a building is a personal statement within the ongoing process of history; but today I am certain that once the construction is finished, once the building assumes its own reality and its own role, all those concerns that occupied the architects and their efforts dissolve. . . . The building itself stands alone, in complete solitude -no more polemical statements, no more troubles. It has acquired its definitive condition and will remain alone forever, master of itself. When architects realize that a building masters its own life, their approach to design is different. . . . Our personal concerns become secondary and the final reality of the building becomes the authentic aim of our work. It is the building's materiality, its own being, that becomes the unique and exclusive concern.