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
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.
Interpretation
Good design transcends trends and serves as a source of inspiration and practicality.
Arthur Erickson emphasizes that true design should not merely follow fleeting trends but should instead represent innovation and sensibility. Good design has the power to inspire and enhance the experiences of those who use it, making it timeless rather than simply fashionable.
In practice
In a presentation on the importance of sustainable architecture, you could quote this to emphasize the lasting value of good design.
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.
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.
Great buildings that move the spirit have always been rare. In every case they are unique, poetic, products of the heart.
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.
Basically there can be no categories such as 'religious' art and 'secular' art, because all true art is incarnational, and therefore 'religious.
When I made my first film, I think the thing was probably helped me the most was that it was such an unusual thing to do in the early 50s for someone who actually go and make a film. People thought it was impossible. It really is terribly easy. All anybody needs is a camera, a tape recorder, and some imagination.
To say that these men paid their shillings to watch twenty-two hirelings kick a ball is merely to say that a violin is wood and catgut, that Hamlet is so much paper and ink.
Throughout his work, Philip Levine's most powerful commitment has been to the failed and lost, the marginal, the unloved, the unwanted.
I want to sing more in Spanish. I want to sing the songs of Granados; the songs of Montsalvatge. To do things that truly I've not done before.
Too many younger artists, critics, and curators are fetishizing the sixties, transforming the period into a deformed cult, a fantasy religion, a hip brand, and a crippling disease.
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