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Thom Mayne Quotes - IQDb - Internet Quotes Database

Quotes from Thom Mayne


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In architecture, you arrive so late. I look at doctors, lawyers I know, and they're all buying boats and bailing out at 62. My career is just getting started.


No matter what I've done, what I've tried to do, everybody says it can't be done. And it's continuous across the complete spectrum of the various kind of realities that you confront with your ideas.


In Paris, there has to be a presence. History becomes the most interesting when it's compared to the present. I mean there's a whole group of people that want to build new buildings that look like old buildings.


Somehow, architecture alters the way we think about the world and the way we behave. Any serious architecture, as a litmus test, has to be that.


I think a lot of people have the Frank Lloyd Wright model in their brains. The architect comes in with this act of creation and lays it down, and that's it. But that's not me.


I fought violently for the autonomy of architecture. It's a very passive, weak profession where people deliver a service. You want a blue door, you get a blue door. You want it to look neo-Spanish, you get neo-Spanish. Architecture with any authenticity represents resistance. Resistance is a good thing.


The age of recalcitrance is over. The best solution is no longer just to regurgitate a 19th-century design.


I'm not just influenced by the '60s - it's who I am. I grew up with Allen Ginsberg and Che Guevara. I flirted with various forms of communism when it was way out of style. It was this really strange and creative time in music and culture, and it was fabulous.


So at a time in which the media give the public everything it wants and desires, maybe art should adopt a much more aggressive attitude towards the public. I myself am very much inclined to take this position.


It's too simplistic to advance the notion of the autonomy of art as a reason for turning away from the public. You can have autonomy and simultaneously have connections with the social and political world.


So I am totally aware that when I defend the autonomy of art I'm going counter to my own development. It's more an instinctive reaction, meant to protect the private aspect of the work, the part I am most interested in and which nowadays is at risk in our culture.


I don't know any architects that I respect who don't have their own voice. I think the difference between architecture and the other arts is your immersion in reality.


I believe that artistic activities change people. You do effect change. I see architecture as a political, social and cultural act - that is its primary role.


Our idea of nature is increasingly being determined by scientific developments. And they have become decisive for our image of reality.


New York is this cacophony - a collection of radical differences, an agreement of non sequiturs. The diversity and intensity are startling.


My buildings don't speak in words but by means of their own spaciousness.


Large-scale public projects require the agreement of large numbers of people.


I've been such an outsider my whole life.


I'm not a tabula rasa type. In some ways, the more constraints I have, the work is more interesting to me.


I'm interested in conflict and confrontation.