There is an increasing awareness of the interrelatedness of things. We are becoming less prone to accept an immediate solution without questioning its larger implications.
Arthur EricksonRead
Great buildings that move the spirit have always been rare. In every case they are unique, poetic, products of the heart.
Interpretation
Great architecture inspires and is often one-of-a-kind, rooted in deep emotional resonance.
Arthur Erickson emphasizes the rarity of buildings that truly elevate the human spirit, suggesting that such works of architecture are not only unique but also creations imbued with poetic qualities and heartfelt intention. These buildings stand out because they connect with our emotions and sense of beauty, transcending mere function to become art in their own right.
In practice
During a speech on innovation in design, one might reference this quote to illustrate the emotional impact of architecture.
There is an increasing awareness of the interrelatedness of things. We are becoming less prone to accept an immediate solution without questioning its larger implications.
We are not peddlers of the fashionable. We believe that good design defies fashion, is truly innovative, eminently sensible, yet a source of inspiration to those who have the pleasure of living with it.
Does an architecture to assuage the spirit have a place in all this? Unfortunately we are no longer the interpreters of our culture's myths but the followers of that dubious client, the developer, who has little patience with the art of architecture, the fine detail and obscure promise, which can upset his financial activity.
The tourist transports his own values and demands to his destinations and implants them like an infectious disease, decimating whatever values existed before.
Space has always been the spiritual dimension of architecture. It is not the physical statement of the structure so much as what it contains that moves us.
The obsession with performance left no room for the development of the intuitive or spiritual impact of space and form other than the aesthetic of the machine itself.
I think every artist subconsciously wants to evolve themselves. Sometimes they get stuck in ruts because of pop culture, peer pressure, stuff like that. But what excites me most is exploring my own musical insights and expanding upon them.
When I'm stuck for a closing to a lyric, I will drag out my last resort: overwhelming illogic.
My art will reflect not necessarily conscious politics but the unanalysed politics of my life.
Do people choose the art that inspires them β do they think it over, decide they might prefer the fabulous to the real? For me, it was those early readings of fairy tales that made me who I was as a reader and, later on, as a storyteller.
All my stories are like the Greek and Roman myths, and the Egyptian myths, and the Old and New Testament.
Architecture is a very dangerous job. If a writer makes a bad book, eh, people don't read it. But if you make bad architecture, you impose ugliness on a place for a hundred years.
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