Man has evolved a mutual relationship with nature on earth, but his power to change its surface has grown so tremendously that this may become a curse instead of a blessing.
Interpretation
Human advancements have allowed us to alter nature significantly, but this power may lead to negative consequences.
Walter Gropius highlights the paradox of human development in relation to nature. While we've cultivated a symbiotic relationship with the environment, our growing ability to manipulate it could turn into a destructive force, leading us to face unforeseen challenges and threats to our ecosystem.
In practice
In a speech about sustainable living, one could say, 'As Walter Gropius warned, our power to change nature could be a curse if not handled responsibly.'
The ultimate aim of all artistic activity is building! ... Architects, sculptors, painters, we must all get back to craft! ... The artist is a heightened manifestation of the craftsman. ... Let us form ... a new guild of craftsmen without the class divisions that set out to raise an arrogant barrier between craftsmen and artists! ... Let us together create the new building of the future which will be all in one: architecture and sculpture and painting.
A modern building should derive its architectural significance solely from the vigour and consequence of its own organic proportions. It must be true to itself, logically transparent, and virginal of lies or trivialities.
The utilization of flat roofs as 'grounds' offers us a means of re-acclimatizing nature amidst the stony deserts of our great towns; for the plots from which she has been evicted to make room for buildings can be given back to her up aloft.
Architecture begins where engineering ends.
Today the arts exist in isolation, from which they can be rescued only through the conscious, cooperative effort of all craftsmen. Architects, painters, and sculptors must recognize anew and learn to grasp the composite character of a building both as an entity and in its separate parts.
Good architecture should be a projection of life itself, and that implies an intimate knowledge of biological, social, technical, and artistic problems.
Three things remain with us from paradise: stars, flowers and children.
The earth has disappeared beneath my feet, It fled from all my ecstasy. Now like a singing air creature I feel the rose keep opening.
We can't negotiate the facts. We can't negotiate the truth about the situation. And for those who are too fearful to finish, it can be done and must be done. Make sure we succeed, . . . It is wrong for this generation to destroy the habitability of our planet and ruin the prospects of every future generation.
I can't edit the materials I work with. My remit is to work with nature as a whole. I find nature as a whole disturbing. Nature can be harsh – difficult and brutal, as well as beautiful. You couldn't walk five minutes from here without coming across something that is dead or decaying.
The yard was full of tomato plants about to ripen, and mint, mint, everything smelling of mint, and one fine old tree that I loved to sit under on those cool perfect starry California October nights unmatched anywhere in the world.
My argument has always been that nature has a master plan pushing every species toward procreation and that it is our right and even obligation as rational human beings to defy nature's fascism. Nature herself is a mass murderer, making casual, cruel experiments and condemning 10,000 to die so that one more fit will live and thrive.
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