Eberhard Guarnerius Happel, The Princely Kunstkammer in Dresden, 1687
Johann Jacob Scheuchzer, Kunstkammer in Wasserkirche Zürich, 1688
Nehemiah Grew, from An Idea of a Phytological History Propounded, 1673 (via grupaok)
Fifteen years ago, the term “greenwashing” entered the O.E.D. Since then, the ongoing, increasingly mainstream, and often cosmetic use of ecological correctness as a selling point has led to some jadedness in the marketplace. Overwhelmingly, though, greenwashing has succeeded, creating a complacent class of consumer able to justify just about any material want so long as it is “sustainable.”
Architects mostly work for privileged people, people who have money and power. Power and money are invisible, so people hire us to visualize their power and money by making monumental architecture. I love to make monuments, too, but I thought perhaps we can use our experience and knowledge more for the general public, even for those who have lost their houses in natural disasters.
I was hoping ever since I was a child to not be influenced by fashion, and to develop my own structure and materials.
When people try to do something new, they always think something stronger or more acrobatic. My development was using more humble material, or weaker material. The strength of the material has nothing to do with the strength of the building, even nothing to do with durability. I knew logically that even using a weaker material like a paper tube I could make a strong building.
I do not know the meaning of ‘Green Architect.’ I have no interest in ‘Green,’ ‘Eco,’ and ‘Environmentally Friendly.’ I just hate wasting things.
I only do one design. If I do three, obviously one is going to be the best. You’re only going to want the best, so I’m only going to show you one.
Many architects in the world today are competing only for the beauty of the architectural form. Ban-san’s attempt is a counter-punch against these architects, and I think he represents a new model of a ‘socially responsible’ architect.
Architecture is not writing or talking, it’s building buildings.
I’m not the architect to make a shape. My designs are always problem solving.
It makes me crazy when people say, ‘Oh, Frank, your architecture is too complicated—it’s overpowering the art.’ I’ve talked to artists, and they’re willing to play.