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.
The minute you start the process of deciding to make a film and you're communicating that vision to anyone, you're in the process of selling. If you don't understand that, you're not in show business. You're just not.
Dancing is bigger than the physical body. Think bigger than that. When you extend your arm, it doesn't stop at the end of your fingers, because you're dancing bigger than that. You're dancing spirit.
The Creator wants us to drum. He wants us to corrupt the world with drum, dance and chants. After all, we have already corrupted the world with power and greed....which hasn't gotten us anywhere - now's the time to corrupt the world with drum, dance and chants.
Some of what I consider my best work, and some of the best films that I've ever worked on, kind of disappear without a trace. There's no accounting for it. Something connects, or something doesn't.
My kitchen is a mystical place, a kind of temple for me. It is a place where_x000D_ _x000D_ the surfaces seem to have significance, where the sounds and odors carry_x000D_ _x000D_ meaning that transfers from the past and bridges to the future.
Poetry is also the physical self of the poet, and it is impossible to separate the poet from his poetry.
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