Sustainability can't be like some sort of a moral sacrifice or political dilemma or a philanthropical cause. It has to be a design challenge.
Bjarke IngelsRead
I believe that architecture, as anything else in life, is evolutionary. Ideas evolve; they don't come from outer space and crash into the drawing board.
Interpretation
Architecture evolves over time through gradual changes rather than sudden bursts of inspiration.
Bjarke Ingels emphasizes that architecture, much like any other discipline, is not a static creation but rather a progressive journey. Ideas develop and grow from previous concepts, influenced by context and experience, rather than appearing fully formed without origin. This highlights the importance of evolution in creative processes.
In practice
In a lecture on design principles, one might use this quote to illustrate the importance of evolutionary thinking in creative fields.
Sustainability can't be like some sort of a moral sacrifice or political dilemma or a philanthropical cause. It has to be a design challenge.
One of the dilemmas of architecture in general is that there is a Catch-22 - you can't actually get to be commissioned to do certain types of building until you've already built that type of building. So it seems to be incredibly hard to get going.
For me, architecture is the means, not the end. It's a means of making different life forms possible.
Design our world so that we have positive social and environmental side effects.
In the big picture, architecture is the art and science of making sure that our cities and buildings fit with the way we want to live our lives.
I don't have to come up with the best idea. It is my job to make sure that it is always the best idea that wins.
I get little kids who recognize me from 'Mary Poppins,' and it just delights me because it's our third generation.
When you're a kid and you're trying to find your own voice, it's rather daunting to hear somebody like Howlin' Wolf, because you know that you'll never achieve that.
When you're traveling constantly, every day you become inspired, and it shows in my work, sonically, lyrically, visually. Conversations with women with different accents and stories told in those accents. I like to create characters based on different people I've met, and relationships. I like to tell stories loosely based on real-life events.
When I was a kid, there was no collaboration; it's you with a camera bossing your friends around. But as an adult, filmmaking is all about appreciating the talents of the people you surround yourself with and knowing you could never have made any of these films by yourself.
I'm known as a light artist. But rather than be someone who depicted light, or painted light in some way, I wanted to have the work be light.
Chaplin and Keaton are still the best. They know that there is nothing more serious than laughter, an art demanding infinite work, and that as long as the world revolves, making others laugh is the most splendid of activities.
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