• 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

  • Hans Dieter SchaalPaths, Passages and Spaces, c. 1975 (via ryanpanos)

    "Hans Dieter Schaal (1943) is a German architect, stage designer, landscape designer, writer and artist. Throughout his whole career he constantly crossed the borders among the different disciplines to produce a unique corpus of works. In his famous 1970′s black and white drawings, Schaal synthesized some of his researches on the continuous space, the relationship between natural settings and man-made structures, the path as a space for representation, always keeping an ironical eye. The repetition of a basic object, like a bed, a door, a curtain, a stairway, becomes the starting point for the construction of an imaginary field of possibilities."

    (via archidose)

  • Jeffrey Beebe, Lost Caverns of the Queen of Ropes, 2011 (via archidose)

  • Let’s talk about humanity, individualism, imagination and creativity — those are the values a society is built on. What education are we getting, what dreams do we dream?

    —  Ai Weiwei, “Interview with Spiegel,” 2014

  • It is not only in the modern imagination that forests cast their shadow of primeval antiquity; from the beginning they appeared to our ancestors as archaic, as antecedent to the human world. We gather from mythology that their vast and somber wilderness was there before, like a precondition or matrix of civilization, or that … the forests were first. Such myths, which everywhere look back to a forested earth, no doubt recall the prehistoric landscape of the West, yet this by itself does not explain why human societies, once they emerged from the gloom of origins, preserved such fabulous recollections of the forests’ antecedence. Why, for example, should the founding legends of ancient cities declare that Rome had a sylvan origin? … Human beings have by no means exploited the forest only materially; they have also plundered its trees in order to forge their fundamental etymologies, symbols, analogies, structures of thought, emblems of identity, concepts of continuity, and notions of system. From the family tree to the tree of knowledge, from the tree of life to the tree of memory, forests have provided an indispensible resource of symbolization in the cultural evolution of humankind, so much so that the rise of modern scientific thinking remains quite unthinkable apart from the prehistory of such metaphorical borrowings. Even the concept of the circle, we are told, comes from the internal concentric rings laid bare by the felling of trees.

    —  Robert Pogue HarrisonForests: The Shadow of Civilization, 1992

  • [Restoration is a] means to reestablish [a building] to a finished state, which may in fact never have actually existed at any given time.

    —  Eugène Viollet-le-Duc, “On Imaginative Restoration,” c. 1850 (via welland)

  • So vast, so limitless in capacity is man’s imagination to disperse and burn away the rubble-dross of fact and probability, leaving only truth and dream.

    —  William Faulkner, Requiem for a Nun, 1951 (via burnaway)

  • Office KGDVS, Garden Pavilion Installation for the Architecture Biennale, Venice, Italy, 2010