There is a single thread of attitude, a single direction of flow, that joins our present time to its early burgeoning in Mediterranean civilization.
The artist likes to seem totally responsible for his work. Often he begins to explain it, to make it appear as if it were a reasonable process.
It is the mystery of the creative act that something other than our conscious self takes over.
Today's developer is a poor substitute for the committed entrepreneur of the last century for whom the work of architecture represented a chance to celebrate the worth of his enterprise.
Vitality is radiated from exceptional art and architecture.
The way of architecture is the quiet voice that underlies it and has guided it from the beginning.
We are guilty for sending teams into foreign countries to advise them how to be like us.
Profit and bottom line, the contemporary mantra, eliminates the very source of architectural expression.
Ancient Rome was as confident of the immutability of its world and the continual expansion and improvement of the human lot as we are today.
Tahiti has been spoiled for many years, but Bali is one of the few cultures with origins in one of the great ancient cultures which is still alive.
Materialism has never been so ominous as now in North America, as management takes over.
With production alone as the goal, industry in North America was dominated by the assembly line, standardization for mass consumption.
We are stymied by regulations, limited choice and the threat of litigation. Neither consultants nor industry itself provide research which takes architecture forward.
In those countries with centuries of a craft tradition behind their building methods, techniques are tightly coordinated under the direction of the architect.
Architecture doesn't come from theory. You don't think your way through a building.
Nearly all of the advances in structural and aesthetic innovation is coming from abroad.
Illusion is needed to disguise the emptiness within.
Western history has been a history of deed done, actions performed and results achieved.
Builders eventually took advantage of the look of modernism to build cheaply and carelessly.
The new architecture of transparency and lightness comes from Japan and Europe.
The innovative spirit was America's strongest attribute, transforming everything into a brave new world, but there lingered an insecurity about the arts.
The heart, not the head, must be the guide.
The obsession with performance left no room for the development of the intuitive or spiritual impact of space and form other than the aesthetic of the machine itself.
Inspiration in Science may have to do with ideas, but not in Art. In art it is in the senses that are instinctively responsive to the medium of expression.
Nowhere has specialization penetrated so deeply into the building professions as North America.
The details are the very source of expression in architecture. But we are caught in a vice between art and the bottom line.
The tourist transports his own values and demands to his destinations and implants them like an infectious disease, decimating whatever values existed before.
After 1980, you never heard reference to space again. Surface, the most convincing evidence of the descent into materialism, became the focus of design. Space disappeared.
Whenever we witness art in a building, we are aware of an energy contained by it.
The delusion of entertainment is devoid of meaning. It may amuse us for a bit, but after the initial hit we are left with the dark feeling of desolation.
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Yoshio Taniguchi - Tadao Ando - Rem Koolhaas - Minoru Yamasaki - Kenzo Tange - John Portman - John Foster - Helmut Jahn - Cass Gilbert - Alvar Aalto