architectureI don’t believe in morality in architecture. Michael Graves The architecture of our future is not only unfinished the scaffolding has hardly gone up. Any work of architecture that has with it some discussion, some polemic, I think is good. It shows that people are interested, people are involved. There will never be great architects or great architecture without great patrons. There is a powerful need for symbolism, and that means the architecture must have something that appeals to the human heart. There is a powerful need for symbolism, and that means the architecture must have something that appeals to the human heart. The dialogue of architecture has been centered too long around the idea of truth. I like things that are kind of eclectic, when one thing doesn’t go with another. That’s why I love Rome. The town itself is that way. It’s where Fascist architecture meets classic Renaissance, where the ancient bangs up against the contemporary. It has a touch of everything. That’s my style, and that’s what my work is about. There is a lot of interest in the arts, music, theatre, filmmaking, engineering, architecture and software design. I think we have now transitioned the modern-day version of the entrepreneur into the creative economy. I have no requirements for a style of architecture. I see architecture not as Gropius did, as a moral venture, as truth, but as invention, in the same way that poetry or music or painting is invention.
Any work of architecture that has with it some discussion, some polemic, I think is good. It shows that people are interested, people are involved.
There is a powerful need for symbolism, and that means the architecture must have something that appeals to the human heart. There is a powerful need for symbolism, and that means the architecture must have something that appeals to the human heart.
I like things that are kind of eclectic, when one thing doesn’t go with another. That’s why I love Rome. The town itself is that way. It’s where Fascist architecture meets classic Renaissance, where the ancient bangs up against the contemporary. It has a touch of everything. That’s my style, and that’s what my work is about.
There is a lot of interest in the arts, music, theatre, filmmaking, engineering, architecture and software design. I think we have now transitioned the modern-day version of the entrepreneur into the creative economy.
I see architecture not as Gropius did, as a moral venture, as truth, but as invention, in the same way that poetry or music or painting is invention.