The sun never knew how great it was until it hit the side of a building.
Louis KahnRead
I sense a Threshold: Light to Silence, Silence to Light - an ambiance of inspiration, in which the desire to be, to express, crosses with the possible Light to Silence, Silence to Light crosses in the sanctuary of art.
Interpretation
The quote speaks to the transformative power of art, bridging the gap between silence and expression.
Louis Kahn's quote suggests that there exists a 'Threshold' where sound and silence meet, creating a space for inspiration and expression. This sanctuary, found within the realm of art, allows individuals to move from the quietude of thought to the clarity and illumination of creative expression, highlighting the intimate relationship between silence and artistic creation.
In practice
A speaker at an art gallery opening discussing the importance of silence in creative processes.
The sun never knew how great it was until it hit the side of a building.
Greek architecture taught me that the column is where the light is not, and the space between is where the light is. It is a matter of no-light, light, no-light, light. A column and a column brings light between them. To make a column which grows out of the wall and which makes its own rhythm of no-light, light, no-light, light: that is the marvel of the artist.
The room is the beginning of architecture.
Architecture is the reaching out for the truth.
The creation of art is not the fulfillment of a need but the creation of a need. The world never needed Beethoven's Fifth Symphony until he created it. Now we could not live without it.
We are born of light. The seasons are felt through light. We only know the world as it is evoked by light.
When I moved to New York City in 1965, I wanted to be in theater. I was following my Ethel Barrymore dream. But I was too young to be Ethel.
First of all there is always that artistic challenge of creating something. Or the particular experience to take slum life in that period and make something out of it in the form of a book. And then I felt some kind of responsibility to my family.
I'm a writer and, therefore, automatically a suspicious character.
I doubt that I could create a character I loathed simply because when a character takes life, it is impossible not to be a little amazed by the phenomenon, and to find that the amazement has something of the quality of delight.
I really believe that if you practice enough you could paint the 'Mona Lisa' with a two-inch brush.
It's weird because I see black gay characters on television all the time, but do I relate to them? Not always, because they're set pieces.
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