Architecture
in sentence
867 examples of Architecture in a sentence
When I was an
architecture
student about 13 years ago, I went to Bangladesh to a remote village called Rudrapur with the aim to design and build a school as my thesis project.
And this is what I tried to do with my
architecture
as well.
And I decided that if I was good in art, and I was good in mathematics, I'd study architecture, which was the blending of the two.
And I said to him what I was doing, that I was going to go study
architecture
because it was art and mathematics put together.
I studied architecture, then did a second degree in architecture, and then actually quickly realized that it wasn't
architecture.
Cape Town is teeming with masculine architecture, monuments and statues, such as Louis Botha in that photograph.
And then the broader ideas of city-making start having direct influences on architecture, on the elements that make up the broader scheme, the buildings themselves, and start guiding us.
And it has also to do with an interest in the vast kind of territory that
architecture
touches.
And it's probably the most intense kind of territory of the work, which is not occupied, because
architecture
is always the most interesting in some mechanism when it's separated from function, and this is an area that allows for that.
You could not proceed without making this negotiation between one's own values and the relationship of the character you're working with and how he understands the court, because I'm showing him, of course, Corbusier at Savoy, which is 1928, which is the beginning of modern
architecture.
Every given project, for me, is an opportunity to create more green cracks through this concrete jungle by using landscape
architecture
as a solution, like turning this concrete roof into an urban farm, which can help absorb rain; reduce urban heat island and grow food in the middle of the city; reuse the abandoned concrete structure to become a green pedestrian bridge; and another flood-proof park at Thammasat University, which nearly completes the biggest green roof on an academic campus yet in Southeast Asia.
So anyway, today we'll talk about
architecture
a little bit, within the subject of creation and optimism.
Because if
architecture
is what I believe it to be, which is the built form of our cultural ambitions, what do you do when presented with an opportunity to rectify a situation that represents somebody else's cultural ambitions relative to us?
I think that the World Trade Center in, rather an unfortunate way, brought
architecture
into focus in a way that I don't think people had thought of in a long time, and made it a subject for common conversation.
I don't remember, in my 20-year career of practicing and writing about architecture, a time when five people sat me down at a table and asked me very serious questions about zoning, fire exiting, safety concerns and whether carpet burns.
At the point where you can weaponize your buildings, you have to suddenly think about
architecture
in a very different way.
And so now we're going to think about
architecture
in a very different way, we're going to think about it like this.
They've chosen a project by Daniel Libeskind, the enfant terrible of the moment of
architecture.
But I want you to think about these things in terms of a kind of ongoing struggle that American
architecture
represents, and that these two things talk about very specifically.
And that kind of fight has gone on back and forth in
architecture
all the time.
Especially through architecture, you're trying to challenge preconceptions and push boundaries and innovate, even if just using what we have around and we overlook all the time.
And we unwrap
architecture
like you would unwrap a birthday gift.
And the second thing is, we're going to restructure its
architecture.
It will give you the same kind of robust
architecture
that I described.
Indeed, in movements of modernism and post-modernism, there was visual art without beauty, literature without narrative and plot, poetry without meter and rhyme,
architecture
and planning without ornament, human scale, green space and natural light, music without melody and rhythm, and criticism without clarity, attention to aesthetics and insight into the human condition.
Aside from keeping the rain out and producing some usable space,
architecture
is nothing but a special-effects machine that delights and disturbs the senses.
We wanted to make an
architecture
of atmosphere.
Because we can't eliminate a single seat, the
architecture
is restricted to 18 inches.
So it's a very, very thin
architecture.
Now, that's a persuasion
architecture.
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