"If it weren't for greed, intolerance, hate, passion and murder, you would have no works of art, no great buildings, no medical science, no Mozart, no Van Gogh, no Muppets and no Louis Armstrong." ― Jasper Fforde, The Big Over Easy
"We depend on our surroundings obliquely to embody the moods and ideas we respect and then to remind us of them. We look to our buildings to hold us, like a kind of psychological mould, to a helpful vision of ourselves. We arrange around us material forms which communicate to us what we need — but are at constant risk of forgetting what we need — within. We turn to wallpaper, benches, paintings and streets to staunch the disappearance of our true selves." ― Alain de Botton, The Architecture of Happiness
"Admirable, however, as the Paris of the present day appears to you, build up and put together again in imagination the Paris of the fifteenth century; look at the light through that surprising host of steeples, towers, and belfries; pour forth amid the immense city, break against the points of its islands, compress within the arches of the bridges, the current of the Seine, with its large patches of green and yellow, more changeable than a serpent's skin; define clearly the Gothic profile of this old Paris upon an horizon of azure, make its contour float in a wintry fog which clings to its innumerable chimneys; drown it in deep night, and observe the extraordinary play of darkness and light in this sombre labyrinth of buildings; throw into it a ray of moonlight, which shall show its faint outline and cause the huge heads of the towers to stand forth from amid the mist; or revert to that dark picture, touch up with shade the thousand acute angles of the spires and gables, and make them stand out, more jagged than a shark's jaw, upon the copper-coloured sky of evening. Now compare the two." ― Victor Hugo, The Hunchback of Notre-Dame
"We used to build temples, and museums are about as close as secular society dares to go in facing up to the idea that a good building can change your life (and a bad one ruin it)." ― Alain de Botton
"The city buildings in the distance are holding up the sky, it seems." ― Markus Zusak, Fighting Ruben Wolfe
"[H]e could see the island of Manhattan off to the left. The towers were jammed together so tightly, he could feel the mass and stupendous weight.Just think of the millions, from all over the globe, who yearned to be on that island, in those towers, in those narrow streets! There it was, the Rome, the Paris, the London of the twentieth century, the city of ambition, the dense magnetic rock, the irresistible destination of all those who insist on being where things are happening-and he was among the victors!" ― Tom Wolfe, The Bonfire of the Vanities
"The yard was a little centre of regeneration. Here, with keen edges and smooth curves, were forms in the exact likeness of those he had seen abraded and time-eaten on the walls. These were the ideas in modern prose which the lichened colleges presented in old poetry. Even some of those antiques might have been called prose when they were new. They had done nothing but wait, and had become poetical. How easy to the smallest building; how impossible to most men." ― Thomas Hardy, Jude the Obscure
"I love the way the rain melts the colors together, like a chalk drawing on the sidewalk. There is a moment, just after sunset, when the shops turn on their lights and steam starts to fog up the windows of the cafés. In French, this twilight time implies a hint of danger. It's called entre chien et loup, between the dog and the wolf. It was just beginning to get dark as we walked through the small garden of Palais Royal. We watched as carefully dressed children in toggled peacoats and striped woolen mittens finished the same game of improvised soccer we had seen in the Place Sainte Marthe. Behind the Palais Royal the wide avenues around the Louvre gave way to narrow streets, small boutiques, and bistros. It started to drizzle. Gwendal turned a corner, and tucked in between two storefronts, barely wider than a set of double doors, I found myself staring down a corridor of fairy lights. A series of arches stretched into the distance, topped with panes of glass, like a greenhouse, that echoed the plip-plop of the rain. It was as if we'd stepped through the witch's wardrobe, the phantom tollbooth, what have you, into another era. The Passage Vivienne was nineteenth-century Paris's answer to a shopping mall, a small interior street lined with boutiques and tearooms where ladies could browse at their leisure without wetting the bustles of their long dresses or the plumes of their new hats. It was certainly a far cry from the shopping malls of my youth, with their piped-in Muzak and neon food courts. Plaster reliefs of Greek goddesses in diaphanous tunics lined the walls. Three-pronged brass lamps hung from the ceiling on long chains. About halfway down, there was an antique store selling nothing but old kitchenware- ridged ceramic bowls for hot chocolate, burnished copper molds in the shape of fish, and a pewter mold for madeleines, so worn around the edges it might have belonged to Proust himself. At the end of the gallery, underneath a clock held aloft by two busty angels, was a bookstore. There were gold stencils on the glass door. Maison fondée en 1826." ― Elizabeth Bard, Lunch in Paris: A Love Story, with Recipes
"I would not venture into government buildings during the COVID-19 pandemic." ― Steven Magee
"I could describe the way the smells of brine and sun have permeated every stone of every street, or the way the tide callers stand at their watchtowers and cry out the hour for their Cities. I could tell you of the many-shaped ships that crisscross the seas with careful writing stitched on their sails praying for good fortune and fair winds. I could tell you of the squid-ink tattoos that adorn the hands of every husband and wife, and of the lesser word-workers who prick words into flesh." ― Alix E. Harrow, The Ten Thousand Doors of January
"Who knows what memories were sheltered in this old building. What dramas, what pleasures, what passions were remembered." ― Zülfü Livaneli, Serenad
"...Originally everything about a Greek or Christian building meant something, and in reference to a higher order of things. This atmosphere of inexhaustible meaningfulness hung about the building like a magic veil. Beauty entered the system only secondarily, impairing the basic feeling of uncanny sublimity, of sanctification by magic or the gods' nearness. At the most, beauty tempered the dread - but this dread was the prerequisite everywhere. What does the beauty of a building mean to us now? The same as the beautiful face of a mindless woman: something masklike." ― Friedrich Nietzsche, Human, All Too Human: A Book for Free Spirits
"If her walls could talk they might recount the stories of generations of families, of two World Wars, of prayers she has heard, of joys she has shared, and somber times of sorrow, grief, and loss." ― Arlene Stafford-Wilson, Lanark County Comfort
"Government buildings are often the highest sources of environmental radiation that I have encountered in society." ― Steven Magee
"New York City is an absolute failure in the design of buildings that promote good human health." ― Steven Magee
"Nowadays, whether we like it or not, we are stuck with one form or another of advanced technology and we have got to make it work safely and efficiently: this involves, among other things, the intelligent application of structural theory. However, man does not live by safety and efficiency alone, and we have to face the fact that, visually, the world is becoming an increasingly depressing place. It is not, perhaps, so much the occurrence of what might be described as 'active ugliness' as the prevalence of the dull and the commonplace. Far too seldom is the heart rejoiced or does one feel any better or happier for looking at the works of modern man. Yet most of the artefacts of the eighteenth century, even quite humble and trivial ones, seem to many of us to be at least pleasing and sometimes incomparably beautiful. To that extent people—all people—in the eighteenth century lived richer lives than most of us do today. This is reflected in the prices we pay nowadays for period houses and antiques. A society which was more creative and self-confident would not feel quite so strong a nostalgia for its great-grandfathers' buildings and household looks." ― J.E. Gordon, Structures: Or Why Things Don't Fall Down
"• Should we reclaim an Indigenous language in a natural Indigenous setting, to replicate the original ambience of heritage, culture, laws, and lores? • Should we reclaim an Indigenous language in a modern building that has Indigenous characteristics such as Aboriginal colours and shapes? • Should we reclaim an Aboriginal language in a western governmental building—to give an empowering signal that the tribe has full support of contemporary mainstream society?" ― Ghil'ad Zuckermann, Revivalistics: From the Genesis of Israeli to Language Reclamation in Australia and Beyond
"The once tattered and gloomy public library has moved to a brilliant new building a few streets over, and as I walked around the landscapers installing the brick steps, I caught the sign on the door that said, "Welcome to Your New Library." In the breezeway, three junior high school girls gathered around a computer terminal and giggled. A woman in a purple cardigan greeted me from behind the circulation desk with a smile and thin wave. Seduced by all of it, I thought, I love my new library." ― Wendy S. Walters, The Fire This Time: A New Generation Speaks About Race
"If buildings were made to collapse, government needs to vanish." ― -ipi(human_bot)
"Buildings dream at night, and their dreams have a particular character. Or perhaps at night they awaken. There is nothing cordial or accommodating about buildings, whatever they might let people believe. The stresses of simply standing there, preposterous constructions, Euclidian like nothing in nature, the ground heaving under them, rain seeping in while their joints go slack with rot. They speak disgruntlement, creaks and groans, and less nameable sounds that suggest presence of the kind that is conjured only by emptiness. Grudges, plaints, and threats, an interior conversation, not meant to be heard, that would startle anyone. Jack had never realized before that the city, the parts he knew of it, might despise its human infestation." ― Marilynne Robinson, Jack
"Your memory of the dead is like the rain— rain colors itself same as the place it falls on:
say, entire cities, streets, & buildings." ― Sneha Subramanian Kanta
"Come and see what the world looks like at the Burj Khalifa, Dubai." ― Anthony T. Hincks
"Come and see what the world looks like at the Merdeka 118, Malaysia." ― Anthony T. Hincks
"Come and see what the world looks like from the Petronas Tower 1 and the Petronas Tower 2, Kuala Lumpur, Malaysia." ― Anthony T. Hincks
"Tokyo." Mr. Fuchigami's voice inflates with pride. "Formerly Edo, almost destroyed by the 1923 Great Kantō earthquake, then again in 1944 by nighttime firebombing raids. Tens of thousands were killed." The chamberlain grows silent. "Kishikaisei." "What does that mean?" There's a skip in my chest. We've entered the city now. The high-rises are no longer cut out shapes against the skyline, but looming gray giants. Every possible surface is covered in signs---neon and plastic or painted banners---they all scream for attention. It's noisy, too. There is a cacophony of pop tunes, car horns, advertising jingles, and trains coasting over rails. Nothing is understated. "Roughly translated, 'wake from death and return to life.' Against hopeless circumstances, Tokyo has risen. It is home to more than thirty-five million people." He pauses. "And, in addition, the oldest monarchy in the world." The awe returns tenfold. I clutch the windowsill and press my nose to the glass. There are verdant parks, tidy residential buildings, upmarket shops, galleries, and restaurants. For each sleek, new modern construction, there is one low-slung wooden building with a blue tiled roof and glowing lanterns. It's all so dense. Houses lean against one another like drunk uncles. Mr. Fuchigami narrates Tokyo's history. A city built and rebuilt, born and reborn. I imagine cutting into it like a slice of cake, dissecting the layers. I can almost see it. Ash from the Edo fires with remnants of samurai armor, calligraphy pens, and chipped tea porcelain. Bones from when the shogunate fell. Dust from the Great Earthquake and more debris from the World War II air raids. Still, the city thrives. It is alive and sprawling with neon-colored veins. Children in plaid skirts and little red ties dash between business personnel in staid suits. Two women in crimson kimonos and matching parasols duck into a teahouse." ― Emiko Jean, Tokyo Ever After
Welcome back. Just a moment while we sign you in to your Goodreads account.
0 Response to "Building New York Skyscraper Construction Funny Quotes Cartoons"
Post a Comment