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eyeofthewolfe · 7 years ago

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Ninjago One-Shot: Exhausted and Alone

Prompt from @doorlords : finding lloyd after his defeat in s8 for a oneshot?

Inspired from @veesearts latest work: here (a beautiful composition of Lloyd alone on the rooftops of Ninjago after Season 8....what inspired this one-shot!!!)

(Such a sad moment in the show, and since Lloyd is alone you get to see what’s haunting at his mind! Thank you for the prompt and grab your tissue boxes!!)

_______________________________________________

Exhausted. Alone.

How could you let that happen? The harsh words continued to repeat in his mind like a broken record. There was no response to that because Lloyd hadn’t of given one, leaving Nya to cry harder and run off, disappearing in the smoke of the fallen city. It was like it had just happened, but in reality that was a few hours ago.

From the height Lloyd was at now, he could see skyscrapers in flames, buildings slowly crumbling, and monstrous piles of concrete and glass where buildings used to stand. It was so sickening to look upon, he had to move back from the ledge and shut his eyes.

The comforting darkness only lasted just a second before the moment when the Bounty was crushed on his friends and uncle replayed in his mind.

A shudder rattled Lloyd’s body and he collapsed to his knees. He could still feel the rough and tight grasp of Harumi’s large stone hands gripping the back of his neck, holding him over the edge of the trolley. He was forced to dangle helplessly over the destruction of the city he swore to protect, watching as his nightmare unfold. He had hoped that his friends would escape, somehow hitting a booster or using their powers to free themselves from the clutches of the the giant. But no. With a crunch that shook the world, the wooden ship collapsed on top of itself, crushing his friends.

His eyes shot open, trying to escape from the nightmare. Gasping for air while preventing sobs, he fell backwards on the rough gravel of the rooftop. His sore hands barely registered the pain as the rocks dug into his scrapes. He didn’t even care if it hurt- it didn’t matter. How could he be here complaining about his minor injuries when....

The tears burned at his eyes again. He couldn’t think about it- how could he. How selfish of him! At least he was still alive.

He remembered the recap Nya had given him as they both headed to his mom and uncle. Lloyd was drained of energy, exhausted both his power and his strength, but it wasn’t until Nya told him that he was on the brink of death when he realized just how dedicated his friends were to him. They were willing to give up their powers just to save his life, even after locking them up to face his dad alone. Granted, their powers remained - according to Nya, but Lloyd’s was gone.

It was a feeling Lloyd has never felt before. It was as if the connection he had to everything was cut. Before he could sense the powers in his friends, the life forces of everything. Anything with energy...he could feel it. Now....nothing. Feeling weakened from that appendage would be an understatement. He felt like he was a dead man walking.

Where are your powers Lloyd, as your city falls? He shut his eyes, hearing Harumi’s menacing cackle as if she was next to him. She was right- where did they go? In his greatest time of need, his powers were gone. He still didn’t understand how. Now his dad- Lord Garmadon- ruled over Ninjago with his own powers, powers unmatched by his son.

Without realizing it, Lloyd had shifted his position so he sat against a wall on top of the roof. His arms were propped up on his legs. He mindlessly fixed the bandage around his left knee before letting his head fall back in exhaustion. He slowly let his eyes close.

“What are you doing?”

Lloyd’s eyes shot open. Standing in front of him with his arms crossed in a way only he could do, was the Master of Fire himself.

“K-Kai?” Lloyd breathed in shock. The spiky haired ninja didn’t acknowledge his name and repeated his question.

“What are you doing?” he said again, this time with more of an edge to his voice. Lloyd sat up a little, still speechless.

“I’ll tell you,” another familiar voice called out from next to him. With a light gasp, he turned to the right to see Cole propped up against the wall, twirling his hammer. “Our leader has given up.”

“That’s not true-“ Lloyd immediately replied, but Cole shook his head. “Look at yourself, Lloyd.”

He slowly looked down at himself before hearing someone bust out into laughter. “He actually looked at himself-“ the high pitched voice wheezed to his left. Lloyd snapped his gaze to Jay, who was trying to control his laughter. “No no, we mean look at your surroundings, your situation.”

“But you all...” Lloyd turned to the three of them, still frozen in shock. “You all are-“

“Dead?” Finally the smooth robotic tone signaled the last of the four. Lloyd turned to see Zane approach from behind Cole. “Do we appear to be dead?”

Lloyd hesitated before shaking his head. “But, I watched the Bounty get crushed on you all. There’s no way.”

Jay made a small gestured. “Well, we had to go-“

“At some point,” Kai interrupted Jay with a sharp look. “Ninja don't last forever.”

Lloyd let his gaze drop to his knees. “When...when Zane died, I kept going because I knew how important the team was to protecting Ninjago. But...now there is no team. It’s only me and Nya.”

Cole pusher off the wall to join Zane and Kai’s side. “That’s not true. There are more out there.”

Lloyd let a tear slide down his cheek. “But I can’t go on without you guys. You’ve always been there, and now-“

“We’ll be here.” Jay reassured as he pushed off the wall to stand next to Kai. “You won’t see us, but we haven’t abandoned you, buddy.”

The Green Ninja looked up at his team as they all stood before him. “What am I supposed to do now?” he asked them. “The City has fallen, everyone is now living in fear, and now my Dad rules with Harumi. There’s no-“

“Well there’s one step,” Kai took a step forward before Lloyd could finish. “You can never give up hope. You need to always be the light at the end of the tunnel.”

Cole stepped forward, his hammer leaning on his shoulder. “You need to be strong, not just for yourself but for others. They need you more than ever.”

“You must be smart,” Zane added as he took a step forward. “Your instincts will keep you alive, but relying on your friends’ advice will help you win the fight.”

Finally Jay stepped forward with a smile. “And keep a light heart. Don’t forget to smile. Don’t let the pain dominate everything, or else the battle has already been lost.”

“But first,” Kai bent over so that he was face to face with Lloyd. He lifted his hand and tapped his index finger twice on his forehead.

“You have to wake up.”

Lloyd’s eyes shot open and he pushed off the wall. As he panted for breath, he looked out across the empty rooftop, no sign that anyone had even been there.

Slowly relaxing, Lloyd leaned back up against the wall, but he was no longer exhausted. Tired, very much so, but there was a new fire in his heart, a bit of hope in the hopeless city. Lonely, obviously, but he had four of the most powerful people with him. He could never be alone.

Using the wall as support, he pushed himself to his feet. Kai was right. He had to wake up. He had to get back on his feet and stop hiding and start resisting.

Resitance, Lloyd smiled to himself. It sounded like a name you would hear in a fantasy story. But right now, maybe fantasy wasn’t a bad thing.

Suddenly the words he said earlier to Harumi came back to him. Words of so much hope, but Lloyd didn’t mean them when he said it. He just needed to put on a face of confidence to show Harumi that she didn’t win when she actually had. But now...Lloyd was confident that the battle wasn’t over. And now, he was ready for round two.

“This isn’t the end, Harumi. This is just the beginning. Without my powers, without my friends: I’m going to fight you! I’m gonna fight on! Because a ninja...”

“...never quits!!”

#ninjago #ninjago fanfic #ninjago fanfiction #ns8 #ninjago season 8 #THANK YOU FOR THE PROMPT!!!!!!

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onett199x · 7 years ago

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Top 10 Jazz Albums of 2017

I followed new jazz music more closely than ever this year, which is good, because this was a great year for jazz music. We got great music on just about every front of the genre this year, from elder statesmen with well-established careers to the young and hungry, and from the fringes of the genre’s biting avant-garde to its most classic and approachable sound. Here are 10 albums from this year I really enjoyed.

10. Fred Hersch | Open Book

Fred Hersch continues to put out a new album each year like clockwork, and the consistently high quality of each of these new releases makes that consistent schedule all the more impressive. His newest, Open Book, is a solo piano outing combining some excellent originals with covers of Monk, Jobim, and Billy Joel, all centered around a nearly 20-minute meditation called Into The Forest, improvised on the spot a la Keith Jarrett. Hersch’s reserve and emotiveness in his playing have driven his albums for years, but Open Book shows that there’s still plenty of new territory to explore, even if this is his eleventh (!!!) solo album.

9. Ben Markley Big Band | Clockwise: The Music Of Cedar Walton

If I tend to repeat artists from year to year on these lists, it’s due more than anything else to the fact that I’m still a very imperfect, biased listener. This isn’t to say that perennial favorites of mine (like, for example, Fred Hersch) aren’t good, just instead to note that there are hundreds of talented artists with albums out each year, and I tend to gravitate towards the ones I already know. All that being said, I had never heard of Ben Markley before this year, or anybody in this whole band for that matter (with the exception of guest artist Terrell Stafford, with whom I only have passing familiarity). I knew who Cedar Walton was, and I knew I liked big bands, so when one of my friends told me to check this out, I had decently high expectations, and I was not disappointed. Ben Markley deftly adapts Walton’s hard-bop workouts into driving big band performances. Tracks like Fiesta Espanol and Bolivia sound like they were made to be big band tunes. Clockwise shows you don’t have to be a New York cat (Markley and his band are from that bustling jazz mecca of Wyoming) to know what’s good.

8. Ambrose Akinmusire | A Rift In Decorum: Live At The Village Vanguard

Ambrose Akinmusire’s entry into the storied jazz canon of albums called ‘Live At The Village Vanguard’ pares back the electronics, studio wizardry, and guest artists from his recent albums to get to the very essence of his music, and that intimate glimpse into the jagged and sometimes wounded sound of his music shows why just about everything he does succeeds - at its very core, Akinmusire’s music has a modern and unique identity, brought to life by musicians who understand how to do so. His music on this album ranges from fairly accessible post-bop to some of the more grating and intense sounds made by a trumpet, but it’s all done towards a greater emotional purpose.

7. Blue Note All-Stars | Our Point Of View

Blue Note Records is a fan of these ‘state of the label’ albums - seems like every decade or two, they get all of their biggest names together for an album and see what happens. For this recent iteration, the band includes Ambrose Akinmusire, Lionel Loueke, Kendrick Scott, Robert Glasper, Derrick Hodge, and Marcus Strickland, and the setlist consists of contributions from most of them as well as a couple of Wayne Shorter tunes (Wayne Shorter himself and Herbie Hancock join them for Shorter’s Masquelero). This is a diverse group of musicians - if you put on each of their albums back-to-back, they might not sound like the best fit to work together, but their album finds common ground and allows each musician to stretch out on it. I really dig their version of Wayne Shorter’s Witch Hunt, and Freedom Dance is a great closer.

6. Bill Charlap | Uptown, Downtown

Like Fred Hersch, Bill Charlap is a storied modern pianist with a strong catalogue of solo, trio, and other performances. Like Hersch, his sound seems to exemplify the idea of ‘less is more’, and his setlists eschew modern covers in favor of classic hard bop tunes and Great American Songbook standards. For his newest album, Charlap works with his long-running rhythm section of Peter Washington and Kenny Washington to plunder some long-forgotten Tin Pan Alley obscurities, classic standards, and covers of the likes of Gerry Mulligan and Jim Hall. The title track, a lesser-known Sondheim tune, capture’s Charlap’s wry sense of humor, while his take on Spring Can Really Hang You Up The Most is one of the most aching and melancholy versions of that tune I’ve ever heard. I think this is my favorite album I’ve heard from him since his own Live At The Village Vanguard.

5. Ned Goold | 2016

The comparison of Ned Goold to Thelonious Monk is inevitable and immediate in just about anything written about him. His is an idiosyncratic sound that pointedly, purposefully and joyfully explores different varieties and degrees of dissonance, bending normal-sounding melodies backwards with a clear, mathematical logic behind it. This album takes that sound and injects real energy and humor into it with the addition of Goold’s son, Charles, whose funky, driving beats give songs like Car Alarm a playful, cathartic feeling. It’s a sound that exists at the intersection of meticulous composition and a strong groove.

4. Steve Haines | Secret Stash

Bassist Steve Haines’ latest brings together a powerful quartet of pianist Thomas Linger, drummer Larry Q. Draughn, Jr., and one of the best jazz guitarists playing today, Peter Bernstein, for a set of Haines originals and standards. It can be hard to remain unbiased when you know the musicians personally, but even knowing Thomas and Q, this album is one that stayed in my car for weeks - Haines’ upbeat original Ketch Me If You Can, named for UNC jazz professor Jim Ketch; his excellent take on Dizzy GIllespie’s Con Alma; the soft and contemplative The Masquerade Is Over; and of course, the time-changing title track - all of these combine for one of the best straight-ahead albums I’ve heard in a few years.

3. Charles Lloyd | Passin’ Thru

I don’t dislike Charles Lloyd by any means, but this album really surprised me. I got it right around the time I did my ‘halfway through 2017′ list and made that list while this one was still fresh on my mind, so I didn’t include it then just because I might still be riding the wave of finding something new and fun, but even now, six months later, this is still one of my favorite recordings of the year. Charles Lloyd deftly demonstrates the full breadth of his style over the course of this album, from long-winded post bop with an ostinato piano part a la Keith Jarrett on his Forest Flower, to searching spiritual jazz and groovy soul jazz. It’s all cohesive, it’s all very well done, and Lloyd’s bandmates Eric Harland, Reuben Rogers, and Jason Moran have all been playing with Lloyd long enough that they lock in perfectly with his sound while still being able to explore their own identity as musicians. The title track and Dream Weaver are two of my favorite jazz recordings this year, period.

2. Cecile McLorin Salvant | Dreams And Daggers

While it isn’t called Live At The Village Vanguard, this could be Salvant’s own album by that name. Over the course of two discs, Cecile McLorin Salvant (accompanied by her rhythm section and a string quartet) digs into some of the oldest and, in some cases, raunchiest jazz and blues tunes from decades gone by. Cecile McLorin Salvant is, in my mind, probably the freshest and most important jazz vocalist in years, presenting her tunes with a theatricality and a confidence that reminds you that so many of these tunes are not just reportoire to learn, but stories that tell us about time periods, cultures, and the personal interactions people have with each other. Listening to a Cecile McLorin Salvant album is like watching a one-person show - she inhabits each song as though she is currently living it, and Aaron Diehl, Lawrence Leathers, and Paul Sikivie provide perfectly-constructed templates for the versatility of her voice and emotion to shine through. Like plenty of other singers, Cecile McLorin Salvant is very technically proficient and surrounds herself with talented instrumentalists. She is special because, on top of all of that, she seems to have the incredibly rare ability to tap directly into the very center of each song she sings and invites us into that place, so that we enjoy not just the wit of the lyrics and the beauty of the melodies, but also the human emotion that inspires anyone and everyone to express themselves.

1. Vijay Iyer | Far From Over

Vijay Iyer is in a unique position for any jazz musician. In addition to studying music theory and piano performance, Iyer has also studied the physics of tone and sound for a cross-disciplinary PhD in music cognition. His discography so far has mostly been situated in the avant-garde to some degree, from more accessible works like his trio’s Historicity to the intense outskirts of free jazz on his duo album with Wadada Leo Smith, A Cosmic Rhythm With Each Stroke. On Far From Over, Iyer enlists a sextet of musicians, including cornetist/flugelhornist Graham Haynes, saxophonists Steve Lehman and Mark Shim, bassist Stephan Crump, and drummer Tyshawn Sorey, for a set of wildly original and creative tunes. Each tune inhabits a different idea, from the spacey, almost 90s hip-hop-esque Nope to the quiet, moody, Noir-like For Amiri Baraka and the intense, climactic Into Action. I think this is the best album yet from one of the most consistently creative voices in modern jazz music.

#top 10 #jazz #vijay iyer #cecile mclorin salvant #steve haines #bill charlap #ned goold #fred hersch #ambrose akinmusire #ben markley #blue note all stars

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oliverbensongraphics · 6 years ago

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'Creative Conscience: Peoples’ - Reviewing The Brief

Unit 12 - Engaging with an audience in art and design.

The aims of the brief is to promote and improve the communities we live and work in, helping to transform the wider world. This brief enables me to create a campaign/explore one that deals with/discusses a specific issue but also celebrates people and their achievements. What’s nice about this project is that I will get to look at people that go out of their way daily to help others and make a positive impact in peoples lives, but do not get identified or credit for their hard work. These are just ordinary people mostly volunteering in their own time.

What is ‘Creative Conscience’?

‘Creative Conscience’s aim is to inspire creatives to apply their talents to socially valuable projects, promoting sustainability, freedom, social health and well-being.’

Creative Conscience is a global movement ‘that aims to improve the communities we live and work in, helping to transform the wider world.’ They set up a competition for people to create and present an idea that promotes a ‘socially valuable, human centred design that enables and inspires people to change their lives and the lives of those around them for the better.’

This organisation has encouraged so many people to spend some time coming up with ideas that can in some way help a community of people in a positive manner. It’s brought people together and created new ways of celebrating circumstances that may be hidden away if we didn’t try and expose the positivity in it.

For this project, it is important that I try to think of a variety of ideas before deciding my final idea. I must also be able to identify who the target audience is and what i’m trying to communicate.

Conscience definition: a person's moral sense of right and wrong, viewed as acting as a guide to one's behavior.

Conscience is the voice in our head that tell us whether something is right or wrong / good or bad. It is important that my idea is going to appeal to everyone as an audience (objective). My opinions will need to be shared with others, therefore ideally I will pick an audience I can relate to.

It is important that I elaborate positivity rather than negativity as this competition ‘looks to celebrate people and their achievements and struggles.’ So we are looking at the resolution to the problem rather than the problem itself.

It is important to identify my audience. In graphic design and art, its not about what is on the page, but the meaning and context behind it for the audience. The was a piece is understood is what will make it successful or not successful. Therefore human-centred design is usually the most successful work due to the designs having clear connections allowing them to relate which make it easier to understand or more appealing.

For this project, I must create something that attracts everyone, and that everyone agrees on. For example, mostly everyone agrees with charities and helping the less fortunate, so it might be a good idea that I base my piece around helping someone less fortunate. Another way to also go is by promoting something or someone that everyone likes. For example Mo Farah is a staple for British sport and has done wonders for our country, so it might be a good idea to base my project on recognizing his or someone else's achievements. Promoting ordinary, everyday people who have had a positive influence on their community allowing the audience to relate not only to the work but to the people featured. To some extent, this could result in them wanting to join and make a difference themselves.

Along with this, I could base my project on something that we have a human race have as a problem, therefore everyone would agree that it is a good idea and i’ll have a huge target audience.

Audience definition:

The audience is the people who are going to be viewing a piece of work, the design is usually designed for a specific audience known as the ‘target audience’.

Gender

Age

Interests

Culture

The whole reason we create art is for an audience to view it, so it is important that I consider a target audience by doing extensive research so that I am able to attract this audience.

The audience want a piece that they can relate to, that shows I have researched the topic and shows that I know what i am talking about. Along with this, my piece should also teach the audience about the topic.

How can I research?

Interviews, Surveys, Focus groups, Social Media, Books etc...

‘Firstly you must identify something or someone that you believe contributes to changing the world for the better.’ This could be anyone from the emergency services (Police, NHS, Ambulance, Coast Guards etc), school teachers, charities (For the homeless, poorer countries, illnesses), social services. Along with these, it could be something more personal to you like a family member who has had a strong influence on your life.

‘You could start by looking at your local community; a charity, a fireman, a family member or just an exemplary group of the people, and then consider ways to show their actions, to display their narrative or story.’

Community Definition:

Traditional meaning: a group of people living in the same place or having a particular characteristic in common.

Modern Definition: the condition of sharing or having certain attitudes and interests in common.

It could be a good idea to look at people in my area or people that personally inspire me as it could allow my work to come across more meaningful and personal.

‘Your job is to propose and plan a way to celebrate their lives or draw attention to the positive impact they are having on our immediate society or local culture��. So it is very important to show the positive impact of the person/thing that you are promoting. It is important to plan your ideas so that they can be effective and clean.

‘This could be an advertising campaign, a photographic documentary, an animation, a digital set of information graphics, a magazine or a sequence of editorial illustrations.’ These are suggestions of techniques and processes I could use to create my final piece. It does not have to be one of these but these are just ideas. I personally haven't gone deep into animation so this could be an interesting process for me to try. I would also ideally like to base my project on architecture, however this could be hard in this project so I am going to keep my ideas open.

‘Your work may be conceptual, thought provoking, questioning, and inquisitive OR have the potential to develop into real life-changing solutions.’

‘Some ideas to get you started could include creative exposure for people who support humanitarian aid, education, water shortage, energy efficiency, inclusivity, bullying, inequality, poverty, homelessness, child abuse, over-consumption, mental illness and urban living.’ While we could choose to base our project on someone who's achievements we want to promote, we could also pick a theme like one of the above and propose an idea that could help solve/tackle that problem.

‘Your project should fit into at least one of the six impact themes:

Community Education & Learning Environment & Sustainability, Equality & Justice Health, Wellbeing & Disability, War & Crisis’

As you can see, we have been given a set of themes to base our project on. Personally, I would like to base my project on the theme of architecture. So looking at these themes, ‘Environment & Sustainability’ could be an interesting theme. For example I could create a building that works with nature instead of destroying it.

I could also base my project on one specific person, and promote their positive achievements. The type of people I could aim creating a positive projects about:

Police force,

Fire service,

Ambulance,

NHS,

Army,

Coast guard,

Armed forces,

Teachers,

YMCA,

Social services,

Charities,

Child line.

It is my primary goals to do this to my audience:

EDUCATE & ENHANCE: To a extent my work should tell some level of academic knowledge and aim to improve the knowledge of my audience.

INITIATE & ACTIVATE: My work should trigger a response or reaction. If it doesn’t it’s not successful and will be something people overlook.

IMPACT & PROVOKE: My work should immediately generate a strong effect on the audience, whether this is making them feel a certain way, make them question something or result in them taking action.

UNITE & CONNECT: My work should aim to bring people together for a purpose, fuse a discussion that people can relate to.

As graphic designers, these 4 goals are very vital to ensure our audience can learn, relate and connect with our work. If the audience can relate and connect it makes it more interesting and eye-catching making our outcome more successful.

Task 1: Context and Research

Research the creative Conscience’ website and competition details, looking at and examining previous competition winners and examples. Identify what makes previous examples interesting and exciting as well showing a broader knowledge of the themes and topics you have been asked to look at.

Explore other examples of work that relate to themes, these could be existing campaigns that raise awareness. E.g. Childline, Lloyds TSB. Consider the images you are looking at in your research and question not only the choice of composition and visual language but what is communicated and how an audience may understand this.

Create a series of analytical mind maps with a mood board of images/artworks that perhaps tackle difficult issues and social discussions, or look to celebrate people from all walks of life.

Gather primary research, research my local community and social network. Find a story or situation that promotes hope, solidarity and positive values and beliefs.

The final part of task 1 and as part of your submission for this assignment you are expected to write a considered and individual proposal (350 words) stating the following:

The focus of your studies (what do you intend to do)

Your target audience

The reason for this focus

The materials/process/ specialist area you intend to use and why

How you will go about making/realising your idea.

Task 2: Interpretation and Experimentation

As part of this assignment, you will complete a series of mixed rotational workshops inspired by specific contexts and techniques. It is important to evidence any practical workshop that supports independent experimentation and development of ideas. During this time critically reflect after each workshop session to show how you are personally developing, in terms of technical skills but also the quality of the work you are producing

Task 3: Development and Refinement

Through a proposal, you should have now established what you are to create and your workshops will allow you to see the potential of a broad range of processes. The challenge is now to develop and refine ideas. The aim is to produce an outcome and then look at presenting that outcome. As part of your final submission, you will present your work in a 5-10 slide presentation. This presentation will then be recorded to support your competition submission.

Task 4: Reflection and Evaluation

Keep up to date with reflections and notes within your sketchbook/file and blog. This could be scanning over your workshops outcomes and discussing the effects, the limits and the potentials of your experiments in regards to your target audience/subjects this must be done at least 3 times during the project.

You must also write a 1000 word evaluation of the entire project. This account should detail your strengths, weaknesses, the potential of your designs and points of development and progression. Consider what you will do now and whether you are now more ready for your next project.

Requirements:

-A sketchbook/Production file containing a rigorous and experimental investigation of ideas and concepts through the use of appropriate materials and methods.

- A 350-word statement of idea proposal.

- 5-10 Slide presentation recorded for assessment purposes.

- Contextual and theoretical research in support of your creative development –this should be integrated into your sketchbook/blog.

- A consistent approach to evaluating progress evidenced on your blog – what have you learnt, how have you progressed? How can you make improvements…?

- Evidence of crits and discussion with tutors and peers.

- A minimum of 3 portfolio boards that display refinement of ideas and outcomes.

- Final outcomes.

Deadline:

Submission date - Thursday 14th February

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networkingdefinition · 5 years ago

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Architect Quotes

Official Website: Architect Quotes

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• A journalist and an information architect face exactly the same problem – how to give shape to the pile of information in front of you in a way that will make it easy and natural for people to comprehend. I can’t imagine any better preparation for the work I do now. – Jesse James Garrett • A modern, harmonic and lively architecture is the visible sign of authentic democracy. – Walter Gropius • Ah, to build, to build! That is the noblest art of all the arts. Painting and sculpture are but images, Are merely shadows cast by outward things On stone or canvas, having in themselves No separate existence. Architecture, Existing in itself, and not in seeming A something it is not, surpasses them As substance shadow. – Henry Wadsworth Longfellow

• All architecture is great architecture after sunset; perhaps architecture is really a nocturnal art, like the art of fireworks. – Gilbert K. Chesterton • All architecture is shelter, all great architecture is the design of space that contains, cuddles, exalts, or stimulates the persons in that space. – Philip Johnson • All fine architectural values are human values, else not valuable. – Frank Lloyd Wright • An architect’s most useful tools are an eraser at the drafting board, and a wrecking bar at the site. – Frank Lloyd Wright • And when an architect has designed a house with large windows, which is a necessity today in order to pull the daylight into these very deep houses, then curtains come to play a big role in architecture. – Arne Jacobsen • Architects of grandeur are often the master builders of disillusionment. – Bryant H. McGill • Architects today tend to depreciate themselves, to regard themselves as no more than just ordinary citizens without the power to reform the future. – Kenzo Tange • Architects, painters, and sculptors must recognize anew and learn to grasp the composite character of a building both as an entity and in its separate parts. Only then will their work be imbued with the architectonic spirit which it has lost as salon art. Together let us desire, conceive, and create the new structure of the future, which will embrace architecture and sculpture and painting in one unity and which will one day rise toward heaven from the hands of a million workers like the crystal symbol of a new faith. – Walter Gropius • Architecture begins where engineering ends. – Walter Gropius • Architecture can’t fully represent the chaos and turmoil that are part of the human personality, but you need to put some of that turmoil into the architecture, or it isn’t real. – Frank Stella • Architecture is basically a container of something. I hope they will enjoy not so much the teacup, but the tea. – Yoshio Taniguchi • Architecture is life, or at least it is life itself taking form and therefore it is the truest record of life as it was lived in the world yesterday, as it is lived today or ever will be lived. – Frank Lloyd Wright • Architecture is not based on concrete and steel, and the elements of the soil. It’s based on wonder. – Daniel Libeskind • Architecture is really about well-being. I think that people want to feel good in a space … On the one hand it’s about shelter, but it’s also about pleasure. – Zaha Hadid • Architecture is the art of how to waste space. – Philip Johnson • Architecture is the learned game, correct and magnificent, of forms assembled in the light. – Le Corbusier • Architecture is the reaching out for the truth. – Louis Kahn • Architecture is the triumph of human imagination over materials, methods, and men, to put man into possession of his own earth – Frank Lloyd Wright • Architecture is to make us know and remember who we are. – Geoffrey Jellicoe • Architecture should speak of its time and place, but yearn for timelessness. – Frank Gehry • Architecture, of all the arts, is the one which acts the most slowly, but the most surely, on the soul. – Ernest Dimnet • Artists to my mind are the real architects of change, and not the political legislators who implement change after the fact. – William S. Burroughs • Artists to my mind are the real architects of change. – William S. Burroughs

jQuery(document).ready(function($) var data = action: 'polyxgo_products_search', type: 'Product', keywords: 'Architect', orderby: 'rand', order: 'DESC', template: '1', limit: '68', columns: '4', viewall:'Shop All', ; jQuery.post(spyr_params.ajaxurl,data, function(response) var obj = jQuery.parseJSON(response); jQuery('#thelovesof_architect').html(obj); jQuery('#thelovesof_architect img.swiper-lazy:not(.swiper-lazy-loaded)' ).each(function () var img = jQuery(this); img.attr("src",img.data('src')); img.addClass( 'swiper-lazy-loaded' ); img.removeAttr('data-src'); ); ); ); • Believe me, that was a happy age, before the days of architects, before the days of builders. – Seneca the Younger • Can’t nothing make your life work if you ain’t the architect. – Terry McMillan • Color is a very critical thing. I’ve found that architects don’t like colors. Engineers too. And so somebody has to stand in. Because this is the finish of it. It is the emotional part of a structure. – John Hench • Designed by architects with honorable intentions but hands of palsy. – Jimmy Breslin • Each man the architect of his own fate. – Sallust • Every great architect is – necessarily – a great poet. He must be a great original interpreter of his time, his day, his age. – Frank Lloyd Wright • Everyone used to want to be star architects. That’s no longer the case. – Shigeru Ban • Faber est suae quisque fortunae. Each man is the architect of his own fate. – Appius Claudius Caecus • Form follows profit is the aesthetic principle of our times. – Richard Rogers • Gratitude is an attitude that hooks us up to our source of supply. And the more grateful you are, the closer you become to your maker, to the architect of the universe, to the spiritual core of your being. It’s a phenomenal lesson. – Bob Proctor • He who rejects change is the architect of decay. The only human institution which rejects progress is the cemetery. – Harold Wilson • Home is where you hang your architect. – Clare Boothe Luce • I almost rented a house by an architect named Schindler, but I couldn’t afford it. It was a jewel – Parker Stevenson • I am trying to counter the fixity of architectures, their stolidity, with elements that give an ineffable immaterial quality. – Toyo Ito • I believe that the way people live can be directed a little by architecture. – Tadao Ando • I did a comparison of a school of architects known as the New York Five. I compared their articulation of wall surfaces, which I enjoyed very much – Parker Stevenson • I don’t divide architecture, landscape and gardening; to me they are one. – Luis Barragan • I feel however, that we architects have a special duty and mission… (to contribute) to the socio-cultural development of architecture and urban planning – Kenzo Tange • I feel most strongly about Jerusalem, because architects ultimately have to address that city. – Ben Nicholson • I have an expensive hobby: buying homes, redoing them, tearing them down and building them up the way they want to be built. I want to be an architect. – Sandra Bullock • I have designed the most buildings of any living American architect. – Alexander Jackson Davis • I learn more from creative people in other disciplines than I do even from other architects because I think they have a way of looking at the world that is really important. – Tom Kundig • I think Miss Monroe as architecture is extremely good architecture, and she’s a very natural actress, and a very good one. – Frank Lloyd Wright • I went to visit my father to tell him that I was going to go to college and become an architect – that was my dream. I was like, yeah I graduated from school, but it’s not like you showed up for that. But all he was worried about is whether or not I wanted money from him. – Jake Roberts • If architecture had nothing to do with art, it would be astonishingly easy to build houses, but the architect’s task – his most difficult task – is always that of selecting. – Arne Jacobsen • I’m often called an old-fashioned modernist. But the modernists had the absurd idea that architecture could heal the world. That’s impossible. And today nobody expects architects to have these grand visions any more. – Thom Mayne • In Europe, architects consider themselves artists. They think they’re special when they win a competition. – Helmut Jahn • In those countries with centuries of a craft tradition behind their building methods, techniques are tightly coordinated under the direction of the architect. – Arthur Erickson • It is therefore indisputable that the limbs of architecture are derived from the limbs of man. – Michelangelo • It’s not about your greatness as an architect, but your compassion – Samuel Mockbee • Let architects sing of aesthetics that bring Rich clients in hordes to their knees; Just give me a home, in a great circle dome Where stresses and strains are at ease. – R. Buckminster Fuller • Make big plans; aim high in hope and work, remembering that a noble, logical diagram once recorded will not die. – Daniel Burnham • May I say, finally, that I have no illusions of grandeur; quite to the contrary, I am very humble in my knowledge that through forty years of my life my life has been an open book of service to my fellow architects and for the public good. – Ralph Thomas Walker • Most architects say: I want to use this type of glass, even if it’s too reflective or doesn’t let enough light in. However, the use of a certain type of glass might change the comfort level. – Helmut Jahn • My dad’s an architect and my mom owned a French bakery for twelve years. – Alison Lohman • My father knew the charming side of my mother, and my mother thought that he was attentive and pleasant and was an architect, which was a respectable profession, but I don’t think that they actually got to know one another deeply. – Christopher Durang • My father, Robert Ernst, was teaching as an architect at the technical high school of our city. – Richard Ernst • My passion and great enjoyment for architecture, and the reason the older I get the more I enjoy it, is because I believe we – architects – can effect the quality of life of the people. – Richard Rogers • No architect troubled to design houses that suited people who were to live in them, because that would have meant building a whole range of different houses. It was far cheaper and, above all, timesaving to make them identical. – Michael Ende • No architecture is so haughty as that which is simple. – John Ruskin • Noble life demands a noble architecture for noble uses of noble men. Lack of culture means what it has always meant: ignoble civilization and therefore imminent downfall. – Frank Lloyd Wright • Not many architects have the luxury to reject significant things. – Rem Koolhaas • Nothing requires the architect’s care more than the due proportions of buildings. – Marcus Vitruvius Pollio • One of the great beauties of architecture is that each time, it is like life starting all over again. – Renzo Piano • Organic architecture seeks superior sense of use and a finer sense of comfort, expressed in organic simplicity. – Frank Lloyd Wright • Switzerland is a small, steep country, much more up and down than sideways, and is all stuck over with large brown hotels built on the cuckoo clock style of architecture. – Ernest Hemingway • Sympathetic cracks. A term frequently used by architects and surveyors in terms of ageing houses. I know what they mean. – Ted Dexter • Talking about music is like dancing about architecture. – Steve Martin • The Architect is just one of a series of works which examine the confrontation of innocence and experience, illustrating the complex ethics of power that exist between reader and writer, critic and artist, the human and the divine. – John Scott • The architect, Peter Arens who is the monstrous carbuncle architect, not merely did his design which had won a public competition never get built but his practice suffered financially for some years. – Anthony Holden • The dialogue between client and architect is about as intimate as any conversation you can have, because when you’re talking about building a house, you’re talking about dreams. – Robert A. M. Stern • The first gesture of an architect is to draw a perimeter; in other words, to separate the microclimate from the macro space outside. This in itself is a sacred act. Architecture in itself conveys this idea of limiting space. It’s a limit between the finite and the infinite. From this point of view, all architecture is sacred. – Mario Botta • The great problem of the concert hall is that the shoebox is the ideal shape for acoustics but that no architect worth their names wants to build a shoebox. – Rem Koolhaas • The interesting thing is when we design and architect a server, we don’t design it for Windows or Linux, we design it for both. We don’t really care, as long as we’re selling the one the customer wants. – Michael Dell • The mother art is architecture. Without an architecture of our own we have no soul of our own civilization. – Frank Lloyd Wright • The only legitimate artists in England are the architects. – Benjamin Haydon • The principle of the Gothic architecture is infinity made imaginable. – Samuel Taylor Coleridge • The terrifying and edible beauty of Art Nouveau architecture. – Salvador Dali • The Washingtonian said it shouldn’t be built. The gallery’s East Building is now considered a triumph, and members of the American Association of Architects have voted it one of the best buildings of all time. – J. Carter Brown • There will never be great architects or great architecture without great patrons. – Edwin Lutyens • To provide meaningful architecture is not to parody history, but to articulate it. – Daniel Libeskind • To work in architecture you are so much involved with society, with politics, with bureaucrats. It’s a very complicated process to do large projects. You start to see the society, how it functions, how it works. Then you have a lot of criticism about how it works. – Ai Weiwei • Under capitalism everybody is the architect of his own fortune. – Ludwig von Mises • We are called to be architects of the future, not its victims. – R. Buckminster Fuller • We should have a system of economics that is structure that is organic tools. We do not have it. We are all hanging by our eyebrows from skyhooks economically, just as we are architecturally. – Frank Lloyd Wright • When it comes to getting things done, we need fewer architects and more bricklayers. – Colleen Barrett • When you look at Japanese traditional architecture, you have to look at Japanese culture and its relationship with nature. You can actually live in a harmonious, close contact with nature – this very unique to Japan. – Tadao Ando • Where do architects and designers get their ideas? The answer, of course, is mainly from other architects and designers, so is it mere casuistry to distinguish between tradition and plagiarism? – Nancy Banks-Smith • With a painter or a sculptor, one cannot begin to alter his works, but an architect has to put up with anything, because he makes utility objects – the building is there to be used, and times change. – Arne Jacobsen • You should just enjoy it, but as soon as you decide that it is going to be your career, no matter whether you want to be a doctor or an architect or anything else, you need to work 5 hours a day. – Guy Forget • Your life will be no better than the plans you make and the action you take. You are the architect and builder of your own life, fortune, destiny. – Alfred Armand Montapert

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