It is in dialogue with pain that many beautiful things acquire their value. Acquaintance with grief turns out to be one of the more unusual prerequisites of architectural appreciation. We might, quite aside from all other requirements, need to be a little sad before buildings can properly touch us.
It is perhaps sad books that best console us when we are sad, and to lonely service stations that we should drive when there is no one for us to hold or love.
It is this idea 'decency' should be attached to wealth -and 'indecency'' to poverty - that forms the core of one strand of skeptical complaint against the modern status-ideal. Why should failure to make money be taken as a sign of an unconditionally flawed human being rather than of a fiasco in one particular area if the far larger, more multifaceted, project of leading a good life? Why should both wealth and poverty be read as the predominant guides to an individual's morals ?
Taking architecture seriously therefore makes some singular and strenuous demands upon us...It means conceding that we are inconveniently vulnerable to the colour of our wallpaper and that our sense of purpose may be derailed by an unfortunate bedspread
I never wavered in my certainty that God did not exist. I was simply liberated by the thought that there might be a way to engage with religion without having to subscribe to its supernatural content - a way, to put it in more abstract terms, to think about Fathers without upsetting my respectful memory of my own father. I recognized that my continuing resistance to theories of an afterlife or of heavenly residents was no justification for giving up on the music, buildings, prayers, rituals, feasts, shrines, pilgrimages, communal meals and illustrated manuscripts of the faiths.
Status Anxiety: A worry, so pernicious as to be capable of ruining extended stretches of our lives, that we are in danger of failing to conform to the ideals of success laid down by our society and that we may as a result be stripped of dignity and respect; a worry that we are currently occupying too modest a rung or are about to fall to a lower one.
The architects who benefit us most maybe those generous enough to lay aside their claims to genius in order to devote themselves to assembling graceful but predominantly unoriginal boxes. Architecture should have the confidence and the kindness to be a little boring.
We should read other people's books in order to learn what we feel; it is our own thoughts we should be developing, even if it is another writer's thought that help us to do so.
To cut out every negative root would simultaneously mean choking off positive elements that might arise from it further up the stem of the plant. We should not feel embarrassed by our difficulties, only by our failure to grow anything beautiful from them.
If optimism is important, it's because many outcomes are determined by how much of it we bring to the task. It is an important ingredient of success. This flies in the face of the elite view that talent is the primary requirement of a good life, but in many cases the difference between success and failure is determined by nothing more than our sense of what is possible and the energy we can muster to convince others of our due. We might be doomed not by a lack of skill, but by an absence of hope!