John Ruskin Quote
We require from buildings two kinds of goodness: first, the doing their practical duty well: then that they be graceful and pleasing in doing it.
Building art is a synthesis of life in materialised form. We should try to bring in under the same hat not a splintered way of thinking, but all in harmony together.
Life is rich always changing always challenging and we architects have the task of transmitting into wood concrete glass and steel of transforming human aspirations into habitable and meaningful...
The details are the very source of expression in architecture. But we are caught in a vice between art and the bottom line.
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.
I've never owned an Apple product. I like the fact that PCs are open architecture and not locked down like Apple products. I feel that Macs are also unjustifiably overpriced.
Proportions are what makes the old Greek temples classic in their beauty. They are like huge blocks, from which the air has been literally hewn out between the columns.
At the beginning, I thought the best Islamic work was in Spain - the mosque in Cordoba, the Alhambra in Granada. But as I learned more, my ideas shifted. I traveled to Egypt, and to the Middle East ma...
Ruskin was heavily engaged by the work of Viollet le Duc which he taught to all his pupils including William Morris, notably Viollet le Duc's Dictionary which he considered as "the only book of any value on architecture".Ruskin's writing styles and literary forms were equally varied. He wrote essays and treatises, poetry and lectures, travel guides and manuals, letters and even a fairy tale. He also made detailed sketches and paintings of rocks, plants, birds, landscapes, architectural structures and ornamentation. The elaborate style that characterised his earliest writing on art gave way in time to plainer language designed to communicate his ideas more effectively. In all of his writing, he emphasised the connections between nature, art and society.
Ruskin was hugely influential in the latter half of the 19th century and up to the First World War. After a period of relative decline, his reputation has steadily improved since the 1960s with the publication of numerous academic studies of his work. Today, his ideas and concerns are widely recognised as having anticipated interest in environmentalism, sustainability and craft.
Ruskin first came to widespread attention with the first volume of Modern Painters (1843), an extended essay in defence of the work of J. M. W. Turner in which he argued that the principal role of the artist is "truth to nature". From the 1850s, he championed the Pre-Raphaelites, who were influenced by his ideas. His work increasingly focused on social and political issues. Unto This Last (1860, 1862) marked the shift in emphasis. In 1869, Ruskin became the first Slade Professor of Fine Art at the University of Oxford, where he established the Ruskin School of Drawing. In 1871, he began his monthly "letters to the workmen and labourers of Great Britain", published under the title Fors Clavigera (1871–1884). In the course of this complex and deeply personal work, he developed the principles underlying his ideal society. As a result, he founded the Guild of St George, an organisation that endures today.