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QUOTATION: Architecture is a chained and fettered art. Far from being “frozen music,”
it is an art constantly attempting to realize in solid, stable form those effects which
music is able to conjure up in an instant—effects which succeed each other rapidly during
the progress of a musical work. Music can attain the colossal in a way which, in
architecture, only the rarest opportunities render even remotely possible. Music can,
in a few moments, admit us through vast portals into avenues, courts and halls of
infinite extent and variety. Music can suddenly raise up an entire structure and, by the
device of modulation, lift it on to a podium, abruptly recess its facades and turn them
bodily into the sunshine. Music can etch silhouettes ten times more intricate than those of
Dresden or London City, repeat them, increase or reduce them, hurl them into the distance
or bring them before us in precise detail. Most of the essentials of architecture—mass,
rhythm, texture, outline—are within music’s power. Almost, the two arts are the same art,
the one able to express nearly everything which the imagination is capable of conceiving,
the other bound by the rigours of economy and use.
ATTRIBUTION: John Newenham Summerson (b.1904), British architect, author.
Heavenly Mansions and Other Essays on Architecture, ch. 5, AMS Press (1949).
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QUOTATION: All architecture is great architecture after sunset; perhaps architecture
is really a nocturnal art, like the art of fireworks.
ATTRIBUTION: Gilbert Keith Chesterton (1874–1936), British author.
“ The Giant,” Tremendous Trifles (1909).
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AUTHOR: Walter Gropius
QUOTATION: Architecture begins where engineering ends.
ATTRIBUTION: To Harvard Department of Architecture,
quoted in Paul Heyer ed Architects on Architecture Walker 78
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QUOTATION: Architecture is to make us know and remember who we are.
ATTRIBUTION: Geoffrey, Sir Jellicoe (b. 1900), British architect.
International Herald Tribune (Paris, November 6, 1989).
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