Read through the most famous quotes by topic #arch
Just look at the architecture," Dr Hartmann explained. Blueprint your feet, and you'll find a marvel that engineers have been trying to match for centuries. Your foot's centerpiece is the arch, the greastest weight-bearing design ever created. The beauty of any arch is the way it gets stronger under stress. The harder you push down, the tighter its parts mesh. No stonemason worth his trowel would ever stick a support under an arch; push up from underneath, and you weaken the whole structure. Buttressing the foot's arch from all sides is a high-tensile web of twenty-six bones, thirty-three joints, twelve rubbery tendons, and eighteen muscles, all stretching and flexing like an earthquake resistant suspension bridge. ↗
I don't know how you hear music. I imagine that if you like music at all then it has, in your head, some kind of third dimension to it, a dimension suggesting space as well as surface, depth of field as well as texture. Speaking for myself, I used to hear "buildings"... three-dimensional forms of architectural substance and tension. I did not "see" these buildings in the classic synaesthetic way so much as sense them. These forms had "floors", "walls", "roofs", "windows", "cellars". They expressed volume. Music to me has always been a handsome three-dimensional container, a vessel, as real in its way as a Scout hut or a cathedral or a ship, with an inside and an outside and subdivided internal spaces. I'm absolutely certain that this "architecture" had everything to do with why music has always exerted such a hold over me. I think music was the structure in which I learned to contain and then examine emotion. ↗
That was our first home. Before I felt like an island in an ocean, before Calcutta, before everything that followed. You know it wasn’t a home at first but just a shell. Nothing ostentatious but just a rented two-room affair, an unneeded corridor that ran alongside them, second hand cane furniture, cheap crockery, two leaking faucets, a dysfunctional doorbell, and a flight of stairs that led to, but ended just before the roof (one of the many idiosyncrasies of the house), secured by a sixteen garrison lock, and a balcony into which a mango tree’s branch had strayed. The house was in a building at least a hundred years old and looked out on a street and a tenement block across it. The colony, if you were to call it a colony, had no name. The house itself was seedy, decrepit, as though a safe-keeper of secrets and scandals. It had many entries and exits and it was possible to get lost in it. And in a particularly inspired stroke of whimsy architectural genius, it was almost invisible from the main road like H.G. Wells’ ‘Magic Shop’. As a result, we had great difficulty when we had to explain our address to people back home. It went somewhat like this, ‘... take the second one from the main road….and then right after turning left from Dhakeshwari, you will see a bird shop (unspecific like that, for it had no name either)… walk straight in and take the stairs at the end to go to the first floor, that’s where we dwell… but don’t press the bell, knock… and don't walk too close to the cages unless you want bird-hickeys…’’ ('Left from Dhakeshwari') ↗
What a lucky girl you are to have this opportunity to live in one of the world's great cities at this most fascinating point in its long, rich history, they had said. Little Becky had known enough not to ask if there was going to be a Banana Republic or a Gap there, or a Tower Records or a Starbucks or a Tweeters or a Blockbuster or a Super CVS or a Saks. Her mother only mentioned museums and concert halls and churches and architecture, so Little Becky was quite sure there was no room left in Prague for anything good to be built. ↗
Stately and commanding, the house I found on Sacramento Street, in Lower Pacific Heights, was an architectural jewel; tour buses drove down the street several times a day and the guides pointed out our Victorian “painted lady” not just for its curb appeal but also for its lucky survival of the earthquake. Meticulously renovated, the house had a layout that I was sure would work perfectly: a three-room suite on the lower level with a bathroom and laundry room for my mother, living space on the next level, and, on the top floor, bedrooms for Zoë and me. The master bedroom was large enough to double as my office. Moreover, it seemed symbolic that we should find a three-story nineteenth-century Victorian, whose original intention was to house multiple generations. My mother couldn’t have been more pleased. She started calling our experiment “our year in Provence.” In the face of naysayers, I chose to embrace the reaction of a friend who was living in Beijing: “How Chinese of you!” she said upon hearing the news. When I told my mother, she was delighted. “What have the Chinese got on us?” she declared. And I agreed. The Chinese revere their elderly. If they could live happily with multiple generations under one roof, so could we. ↗
I believe I’m very normal. I’m hyper-normal. I’m more normal than anyone else I know. I think my thoughts, my indulgences, my desires, my pleasures may at first appear different, but that is only because they are more normal, not because they are more esoteric. I believe I am bored when other people are bored, only faster. I am interested when others are interested, only more interested. But I also think I’m less, rather than more, intelligent than other people. By indulging my interests through my life, and perhaps because of rather than despite many failures, I have been able to design my life. ↗
The surpluses will have to be expended somehow, and trust the oligarchs to find a way. Magnificent roads will be built. There will be great achievements in science, and especially in art. When the oligarchs have completely mastered the people, they will have time to spare for other things. They will become worshippers of beauty. They will become art-lovers. And under their direction and generously rewarded, will toil the artists. The result will be great art; for no longer, as up to yesterday, will the artists pander to the bourgeois taste of the middle class. It will be great art, I tell you, and wonder cities will arise that will make tawdry and cheap the cities of old time. And in these cities will the oligarchs dwell and worship beauty ↗
Dalin must have whiffed the anarch in me, a man with no ties to state or society. Still, he was unable to sense an autonomy that puts up with these forces as objective facts but without recognizing them. What he lacked was a grounding in history. Opposition is collaboration; this was something from which Dalin, without realizing it, could not stay free. Basically, he damaged order less than he confirmed it. The emergence of the anarchic nihilist is like a goad that convinces society of its unity. The anarch, in contrast, not only recognizes society a priori as imperfect, he actually acknowledges it with that limitation. He is more or less repulsed by state and society, yet there are times and places in which the invisible harmony shimmers through the visible harmony. This is obviously chiefly in the work of art. In that case, one serves joyfully. But the anarchic nihilist thinks the exact opposite. The Temple of Artemis, to cite an example, would inspire him to commit arson. The anarch, however, would have no qualms about entering the temple in order to meditate and to participate with an offering. This is possible in any temple worthy of the name. ↗
