• How can a person imagine this architecture?

    —  Bernard Arnault, “On Seeing the Guggenheim Museum in Bilbao,” 2001 (via goldberger)

  • Every good building is the illustration of a passing conviction. It has a civilizing effect on its environs. To illustrate means to civilize, to use the construction of an imaginarium to explain an unattainable state of completeness. Illustrations help us build a fuzzy story about their subject. ‘There it is again,’ we hear time after time… So, contrary to popular belief, an illustration is effective if it becomes the multiplication of an object’s fiction - its memory-, firing the story towards other scenarios that initially seem inexplicable, like a great archaeological discovery that changes history in an unforeseen way… Then, like Pieter Bruegel the Elder’s Tower of Babel, the image gets attached to the text and becomes its shadow: breathing its air, sharing its scale, occupying the same area, flirting with its time for a while. The task of architecture is to achieve that sliver of credibility.

    —  Smiljan Radic, Illustration as Wasteland, c. 2013

  • You can design and build the most wonderful space in the world. But it takes people to make the dream a reality.

    —  Walt Disney, “On Imagination,” c. 1960 (via plensa)

  • Imagined Plan of King Minos’s Labyrinth, Knossos, Crete, 1997 (via field)

    "In Greek mythology, the Labyrinth (Greek λαβύρινθος labyrinthos) was an elaborate structure designed and built by the legendary artificer Daedalus for King Minos of Crete at the palace KnossosIts function was to hold Minos’s son, Minotaur, a mythical creature that was half man and half bull. Daedalus had so cunningly made the Labyrinth that he could barely escape it after he built it. Every nine years, Minos made King Aegeus pick seven young boys and seven young girls to be sent to Daedalus’s creation, the Labyrinth, to be eaten by the Minotaur. After his death, Minos became a judge of the dead in the underworld. The Minoan civilization of Crete has been named after him by the archaeologist Arthur Evans. In colloquial English, labyrinth is generally synonymous with maze, but many contemporary scholars observe a distinction between the two: maze refers to a complex branching (multicursal) puzzle with choices of path and direction; while a single-path (unicursal) labyrinth has only a single, non-branching path, which leads to the center. A labyrinth in this sense has an unambiguous route to the center and back and is not designed to be difficult to navigate.”

    (via mbelt)

  • Romantic remembrance may have been a form of mourning, but by the same token, it brought the past to life through an imaginative, restorative process that lead to unprecedented investigations and fresh insights into the phenomenon of historicity.

    —  Martin BressaniArchitecture and the Historical Imagination, 2014

  • I remember an extremely vivid emotion of my childhood which is still fresh in my mind, though the incident in question must have occurred at an age which generally leaves none but the vaguest recollections. I was often entrusted to the care of an old servant, who took me wherever his fancy happened to lead him. One day we entered the church of Notre-Dame; and he carried me in his arms, for the crowd was great. The cathedral was hung with black. My gaze rested on the painted glass of the southern rose-window, through which the rays of the sun were streaming, coloured with the most brilliant hues. I still see the place where our progress was interrupted by the crowd. All at once the roll of the great organ was heard; but for rue, the sound was the singing of the rose-window before me. In vain did my old guide attempt to undeceive me; the impression became more and more vivid, until my imagination led me to believe that such or such panes of glass emitted grave and solemn sounds, whilst others produced shriller and more piercing tones; so that at last my terror became so intense that he was obliged to take me out.

    —  Eugene Viollet-le-Duc, Lectures on Architecturec. 1859 (via bressani)

  • With the various historical revivals of the period, Gothic revivalism chief among them, architecture conceived of itself for the first time as an intervention within contemporary reality, a corrective to a defective present. Thus, paradoxically, revivalism came to generate one of modern architecture’s most original practices.

    —  Martin BressaniArchitecture and the Historical Imagination, 2014

  • Poets and beggars, musicians and prophets, warriors and scoundrels, all creatures of that unbridled reality, we have had to ask but little of imagination. For our crucial problem has been a lack of conventional means to render our lives believable.

    —  Gabriel Garcia Marquez, “On Imagination,” c. 1980

  • All communities larger than primordial villages of face to face contact (and perhaps even these) are imagined … to be distinguished not by their falsity and genuineness, but by the style in which they are imagined.

    —  Benedict Anderson in Charles Rutheiser, Imagineering Atlanta, 1996

  • The city as we might imagine it, the soft city of illusion, myth, aspiration, nightmare, is as real, maybe more real, than the hard city one can locate in maps and statistics, in monographs on urban sociology, demography, and architecture.

    —  Jonathan Raban in Charles Rutheiser, Imagineering Atlanta, 1996

  • There are things I can imagine and I can draw. There are things I can imagine but I cannot draw. But, could I draw something that I cannot imagine? That interests me greatly.

    —  Istvan Orosz, “On Drawing,” c. 2000

  • Imagination is more important than knowledge.

    —  Albert Einstein, “On Imagination,” c. 1930

  • I have always imagined that Paradise will be a kind of library.

    —  Jorge Luis Borges, “On Paradise,” c. 1960 (via quote)

  • The scenographer has to be an artist who can understand how to work with and incorporate the ideas of the director, understand text as a writer, be sensitive to the needs of a performer exposed to an audience, and create imaginative and appropriate spaces for productions.

    —  Pamela HowardWhat is Scenography?, 2003 (via steph)

  • we like to build
    and we believe in reality.
    but we also believe in possibilities.

    we imagine alternatives
    and we rethink the givens.
    we search for meaning.

    we think of architecture
    as a place of habitation
    as a social construct
    as a space for the life of human beings.

    we see beauty in rawness and refinement,
    in dematerialization or even monumentality.
    we are interested in how architecture creates memories
    and how it creates stories.

    we are interested in narratives,
    in the stories that could be imagined
    and that could unfold
    within the spaces we create.

    design is simply a tool
    it is the tool we use in our work,
    but it is not our work’s meaning or content.

    architecture should connect
    the people that inhabit it,
    the people that imagine it,
    cultures and natures,
    technologies and materials,
    psychologies and experiences.

    we are inspired by complexity.
    by its beauty and freedom,
    by its subversive nature,
    by its inability to be completely defined.

    but we are also committed to clarity,
    to a strong rationale and logic,
    and to a thorough understanding
    of whatever is at stake.

    we are professionals,
    but we question our own assumptions.
    we don’t simply tell you what you want to hear,
    but we try to identify what you should know.

    we do not only observe or analyze,
    but we engage and become involved.
    and we change our own position
    while we change our environment.

    architecture is about responsibility
    and it requires the fullest commitment
    to its realities and its fantasies,
    to its demanding and intricate process.

    we are partly european
    and partly asian.
    our minds and experiences
    are a hybrid of different cultures
    and contexts.

    we are interested in what we can learn
    and how our own position
    creates links between the multiple realities
    the world is embedded in.

    we engage in an exploration of strategies
    rather than the implementation
    of predefined methods and matrixes.
    knowledge is as important
    as the ability to think things anew
    and differently.

    we believe in our intuition
    and we believe in its utmost importance
    for everything we do.

    —  Buro Ole Schereen, Positions and Intentions, c. 2013