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.
Interpretation
A building's importance should come from its inherent design and honesty rather than external factors.
In this quote, Walter Gropius emphasizes that the architectural value of a modern building should stem from its own design integrity, proportions, and authenticity. He argues that buildings must be genuine and should not rely on superficial embellishments or misleading elements; instead, they should be clear and true to their structural purpose.
In practice
In a presentation on modern architecture, one might quote Gropius to highlight the importance of genuine design principles.
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.
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.
With but a few exceptions, we don't have this personal study under masters any more. Craftsmanship has sunk very low. We no longer have any universally creative persons who are able to guide young learners not only in technical matters but also, at the same time, in a formal way.
The last time I saw her was red. The sky was like soup, boiling and stirring. In some places, it was burned. There were black crumbs, and pepper, streaked across the redness.
What a privilege and honour it has been to be part of seven years of magic in a tent - 'The Great British Bake Off.'
I’ve learned what ‘classical’ means. It means something that sings and dances through sheer joy of existence.
Most of the time one is discouraged by the work, but now and again by some grace something stands out and invites you to work on it, to elaborate it or animate it in some way. It's a mysterious process.
From my perspective, I'm trying to stand for a generation. You know, each generation has designers who go along with it.
I have seen, and heard, much of Cockney impudence before now; but never expected to hear a coxcomb ask two hundred guineas for flinging a pot of paint in the public's face.
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