Architects From The United States

"At one time an individual could fix everything in his life with his thumb nail or his teeth. ...I believe the ground rules can be transformed so that technology simplifies life instead of continually complicating it."

"I don't think that building everything out of stones and living in animal skins is necessarily... healthier... I'm saying... life can be much more satisfying for an individual if he feels that he is in control of his destiny... Society and the tools of society, should be organized to give each one of us that feeling."

"[T]here's Dave Harrison's bead wall. I teach... classes at the University of New Mexico and Dave... one of my students... said. "...I've got this idea of building a wall out of two panes of glass... and you can blow Styrofoam beads between the panes at night to insulate the wall." ...Here's a problem ...nobody has thought of a way to solve. I've tried... and... Harold Hay has... and... a lot of others... Dave Harrison has the answer! ...[A] ...low-tech ...answer ...simple ...easy to understand, that a heating and ventilating man in any town can fix... [W]e’ve made a deal with Dave so that he’ll get a big part of any royalties we realize..."

"[T]he beadwall insulated window panels... this wonderful invention of David C. Harrison’s... a kind of super curtain that... transform[s] a clear dual-panel of glass into an opaque, well-insulated wall and back again."

"[W]ith its unique construction—there are never any air leaks."

"[I]f folks don’t like the idea once they’ve given it the once-over, we’ll be glad to buy the plans back at the full $15.00 purchase price."

"If you... remove the electric clothes dryer and install a clothesline the consumption of electricity drops slightly, but there is no credit given anywhere on the charts and graphs to solar energy which is now drying clothes."

"[C]oal, oil and natural gas are all solar energy products... and hydroelectric power is solar energy..."

"If you... ride and graze a horse... the horse's energy... does not appear on anyone's energy accounting."

"If you install interior greenhouse lights the electricity... is faithfully recorded. If you grow the plants outside no attempt is made at an accounting."

"Every time the sun shines on the surface of a house and especially when it shines through a window there is "solar heating"...According to the NSF/NASA Energy Panel of 1972 the percentage of thermal energy for buildings supplied by the sun was too small to be measurable. ...Shouldn't we recalculate the energy consumption of every building assuming it were kept in the shade all day and... attribute the difference to solar energy? ...I would guess the average shaded fuel consumption to be 15% higher..."

"[O]ur next concern in heating the building is what keeps the earth warm..? What supplies the United States with the energy to maintain an average temperature of 60 degrees Fahrenheit as it spins in empty space at absolute zero? This is a heating contract that no oil company would be quick to try and fill."

"The design of houses can be stilted by such graphs."

"Now that the experts have started this infantile accounting system, which evidently finds us... independent of the sun, solar energy will be admitted only so long as it has been properly collected, stored and transferred."

"If you purchase certain kinds of hardware to exploit solar energy it will be accounted for and credit will be given to the sun. If you depend on more customary old-fashioned uses of solar energy, growing food, drying clothes, sun bathing, warming a house with south windows, the sun credit is totally ignored."

"You know my style of clothing is basically a discourse between me and the kids. That’s what the premise of the brand is... We’re talking straight to the market. But I believe in the romantic interchange between intellectuals about fashion."

"Fashion is one of the greatest vehicles to merge music, art, architecture, design, typography... It’s a wide enough canvas, or a big enough sandbox, to touch all the different things that I’m into."

"She’s just amazing, when you think about what she has done, the work she quietly does in her way. She doesn’t seek attention, but at the same time, people come to her because they know that she will take that opportunity and the gifts, the talent she has and from what I’ve seen, and we all see, that it’ll be remarkable."

"I would hope that artists can offer a different viewpoint, a different way of seeing the exact same data points, but maybe, because we can think a little bit outside of the norm, we can offer a new way of looking at it."

"By second or third grade, I was doing my own thing. I still resent being told what to do in any way, shape, or form. I’m sure it’s clinical."

"I think art is personal to each artist, and so to me it is what my art always has been about. But that’s my choice as an artist. I don’t believe art necessarily has to be any one thing. In fact, if we all felt inclined to have to do that, I think it would be a disaster for art."

"There are a couple of things out there that I really want to do. I’ll tell you one. I want to work in a landfill. I love things that involve adaptive reuse of really degraded places. The sad thing about our current landfills are, you can’t dig a hole into them, because heaven forbid, there’s all this toxic stuff in there. It’s not just that I want to work in a landfill. I would like to help rethink what a landfill could be. What if we didn’t put anything toxic in? What if we composted all our organic matter? So then it wouldn’t be dangerous to plant a tree in it, you wouldn’t have to cap it because you think there’s so much poison in there. What if we could recycle all our rare-earth metals and minerals? It’s a big ask. That’s something I want to do in my lifetime."

"I think art is different. I think you have to be who you are. My art happens to be very integrally linked with my environmental concerns. But to be an artist, you have to be true to who you are."

"Every bowl we ate off was something he made by hand: stonewares connected to nature and natural colors and materials. And so I think our everyday lives was imbued with this very clean, modern, but very warm aesthetic, and that very much influenced me."

"I’ve always been pretty fixated on water. Maybe it’s because it exists in multiple states, and you can never understand it in nature as a fixed moment in time."

"I had a simple impulse to cut into the earth. I imagine taking a knife and cutting into the earth, opening it up and the initial violence and pain that in time would heal. The grass would grow back, but the initial cut would remain a pure, flat surface in the earth with a polished mirrored surfaced, much like the surface on a geode when you cut it and polish the edge. The need for the names to be on the memorial would become the memorial. There was no need to embellish the design further. The people and their names would allow everyone to respond and remember. It would be an interface between our world and the quieter, darker, more peaceful world beyond."

"I think I’ve always had an activist stance, yet at the same time, the other side of me—and this is where some people just don’t get it, or they’d prefer it if the work was a lot uglier, a lot louder—I have this personality where I just want to put something out that’s a fact and then let you interpret it. It’s almost as if you might barely notice it, you might walk right by it, but you have to pay attention."

"In art, I get to walk into my head and do whatever I want to do, to free up completely. That goes back to my roots in Athens, Ohio, my roots in nature and my feelings of connections to the environment, that everything is coalesced around being inspired by the natural world and reflecting that beauty out to others."

"Everything you make is being made by every single experience you've ever had in your whole life, and on top of that, things you were born with. I think your personality comes out. There's no way of really saying: "If A, then B, or A plus B equals C in creativity." The true strength of the creative arts is that you allow yourself to think about something. Then how it finds its way in your mind to the surface through your hands to-- whether it's paint or sculpture-- is intuited. I think there's reason to it. But could you extrapolate? Could you actually formulate a mathematical theorem? Absolutely not."

"Another adage in art is: you're a child and then you become an adult. You're always trying to regain that pure, almost empathetic response that you have when you're a child. It doesn't come with a lot of baggage. You're not worried about, "Oh, what are you thinking here, here, here?" You just respond in certain ways. I think sometimes: Can you think like a child? We're always trying to regain that. I almost make things imagining a child will experience them."

"Now, your great fear in art is that it's never guaranteed you're going to get that next idea. And there's always the fear that the idea you just made that you really, really love, you'll never be able to do it again."

"I have fought very, very hard to get past being known as the Monument Maker."

"I try to understand the "why" of a project before it's a "what." And this might be more pertinent to some of my memorial projects. Memorials are a hybrid between art and architecture because they have a function."

"The response is where Lin starts her work as a designer. She creates, essentially, backward. There is no image in her head, only an imagined feeling. Often, she writes an essay explaining what the piece is supposed to do to the people who encounter it. She says that the form just comes to her, sometimes months later, fully developed, an egg that shows up on the doorstep one day. She rarely tinkers with it. She is, in other words, an artist of a rather pure and intuitive type."

"The Vietnam War was much more in the main news. I think the rioting was. But I think a lot of the facts hadn't been written into the textbooks because it was current news. From a child's point of view, you're not focusing on the daily news the same way. Anyway, I was stunned at how there was this part of American history. I know now it's absolutely covered in textbooks. But could I offer something out as an information table that would give people a brief glimpse of that era the way I had been, after having looked at this material, been given a glimpse? And of course, the idea is, you look at this. You'll want to study it more. Because the one thing about sculptures, the one thing about memorials is: I can draw you in. I can make you think for 15 minutes, whatever, then it's really about where you go after that."

"I value writing. I respect it. I find it the most difficult thing for me to do, but when I'm done I am unbelievably just at peace. If you think about art as being able to share your thoughts with another, writing is totally pure."

"I had been blessed that racism had never really entered into my realm. I get to Denmark and ironically I think they thought I was a Greenlander at times. An eskimo. Because if I get a suntan, I change through different races. Some people think I'm American Indian. When I'm in Mexico, I blend."

"If you ever tried to analyze its shape, it's one of the most complex forms. Think about it, it's every compound curve. There's nothing symmetrical about it. It's about looking at something again and then appreciating it. I mean, nature, is so complex."

"It’s a bit unusual, as you said, to be working between the architecture, the art, and what I would say is a synthesis, the memorials—they’re problem solving, but it’s very symbolic. You get this triangle; I need to be balanced with those three. They’re all equally a part of who I am. I love how different they are, and yet they’re coming out the same thing, whatever it is."

"I leave it up to the viewers. If it’s in a museum, if it’s in a gallery, usually I am going to point out something about a river right below your feet or right outside your window. I’m not going to scream it out. If you get a little curious, you can find a little bit more. At times my works are maybe to a fault subtle. For public works, maybe you won’t even notice I was here. I’m not trying to defeat or conquer nature."

"It took a lot to understand and to thread a path that would allow me to develop in architecture, and develop my voice there, develop my voice in art. I wasn’t abandoning what I would call my interest in history and memory."

"I tend to make models of a lot of my pieces. I end up making models, and the models get bigger, and bigger, and bigger. I call it the Christmas tree syndrome. You buy a Christmas tree outdoors, you think it’s too small, then you bring it inside and you have to lop two feet off because it’s way too big. If you’re working out of doors, you have to test actual scale, with a paper cutout, with a maquette at full scale, because you need it to feel intimate like a dining table. You have to scale it up just enough so that it will still feel intimate — so it won’t jump to monumental in scale. It has to be bigger than it would be inside because then it would get dwarfed. You can only do that by actually mocking it up."

"I find that every project is a new discovery process. I believe an architect should really understand the client's need and his ambitions for that building, his idealism of what that building should be like, the people who work there."

"In New Haven, in the 60s, I designed some housing using trailers. I had the acquiescence of Mayor Lee, a remarkable mayor indeed. The whole notion of making a project for about 150 people using trailers was difficult to persuade anybody to do. I suppose it was a mistake; it was eventually demolished. People hated it. First of all it leaked, which is a very good reason to hate something, but I think it was much more complicated than that. Psychologically, the good folk who inhabited these dwellings thought that they were beneath them. In other words, the deviation of the dwelling was not something to their liking. I thought, and I suppose the mayor thought, that trailers were perfectly good enough for them. But I should say, in defense of what we built, that it was a pocket court plan and that it provided a separate outside space for each family. There were two stories, with a core at the center. I am very tenacious about certain things, and in the long run it seems to me that with the correcting of mistakes one can make something much more successful."

"A swarm of Jews has within the last ten years settled in every Southern town, many of them men of no character, opening cheap clothing and trinket shops, ruining or driving out of business many of the old retailers, and engaging in an unlawful trade with the simple negroes, which is found very profitable."

"When as a society we fail to help all people have confidence in their ability to create, we are doubly wasteful. First, we lose from society’s reservoir the creative potential of so many, and second we see those who are left out lose well-being and emotional security."

"The teacher is the designer of the learning process a choreographer of discovery."

"The finest design for society will not be one worked up by specialists but a design created by the people themselves to fit their needs."

"Many things that if you’re attractive it for us become ugly to us when we gain deeper knowledge: a building that took an oppressed class to build, a tool that will not hold an edge, clothes that shrink or fade on Washington. Are these beautiful? That way we answer this question is momentous impact for our concept of society."

"...when we have more minds concerned, any challenge shrinks proportionally. The solution to our greatest problems may simply be involvement."