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No complete architecture has yet appeared in the history of the world because men, in this form of art alone, have obstinately sought to express themselves solely in terms either of the head or of the heart.
I hold that architectural art, thus far, has failed to reach its highest development, its fullest capability of imagination, of thought and expression, because it has not yet found a way to become truly plastic: it does not yet respond to the poet's touch. That it is today the only art for which the multitudinous rhythms of outward nature, the manifold fluctuations of man's inner being have no significance, no place.

 

Louis Sullivan

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Schinkel had asserted that architecture should be the expression of an idea, and, that insofar as it represented a transcendence of the intellectual over purely material considerations, the Gothic style was the best example of an architectural expression of ideas. Yet, as it happened over the next several generations Gothic was capable of expressing a variety of ideas, often contradictory. It could, for example, express the ultimate victory of spirit over matter, an architectural system "organically" related to nature, or the most logical and efficient use of masonry. It was both the visible expression of the Germanic soul and an ideal vehicle for Catholic worship. If similar forms could express such a variety of ideas, was it also possible that a variety of forms could express similar ideas? That meaning was not intrinsic in the forms but rather attached to them by tacit agreement and confirmed by the specific context? Although it is true that the Gothic Monument to the Wars of Liberation was in a "national" style while the Museum dedicated to universal cultural history was in a timeless "international" style, there is also the particular location of each building to consider: a suburban hilltop for the former and the center of the city with its monumental classical buildings for the latter. Schinkel approached each particular problem on its own terms, and this freedom from a self-consistent but doctrinaire method contributed to his success as a practicing architect even if it makes it difficult to reconstruct his "theory of architecture."

 

Karl Friedrich Schinkel

 

In social terms the identification of poet with teacher is now complete. The first question one poet now asks another upon being introduced is "Where do you teach?" The problem is not that poets teach. The campus is not a bad place for a poet to work. It's just a bad place for all poets to work. Society suffers by losing the imagination and vitality that poets brought to public culture. Poetry suffers when literary standards are forced to conform with institutional ones.

 

Dana Gioia

 

Common to all these types is the anthropomorphic character of the idea of God. Only exceptionally gifted individuals or especially noble communities rise essentially above this level; in these there is found a third level of religious experience, even if it is seldom found in a pure form. I will call it the cosmic religious sense. This is hard to make clear to those who do not experience it, since it does not involve an anthropomorphic idea of God; the individual feels the vanity of human desires and aims, and the nobility and marvelous order which are revealed in nature and in the world of thought. He feels the individual destiny as an imprisonment and seeks to experience the totality of existence as a unity full of significance. Indications of this cosmic religious sense can be found even on earlier levels of development—for example, in the Psalms of David and in the Prophets. The cosmic element is much stronger in Buddhism, as, in particular, Schopenhauer's magnificent essays have shown us. The religious geniuses of all times have been distinguished by this cosmic religious sense, which recognizes neither dogmas nor God made in man's image. Consequently there cannot be a church whose chief doctrines are based on the cosmic religious experience. It comes about, therefore, that we find precisely among the heretics of all ages men who were inspired by this highest religious experience; often they appeared to their contemporaries as atheists, but sometimes also as saints. Viewed from this angle, men like Democritus, Francis of Assisi, and Spinoza are near to one another.

 

Albert Einstein

 

First were the thick stone walls, the arches, then the domes and vaults — of the architect, searching out for wider spaces.
Now it is concrete-reinforced that gives our imagination flight with its soaring spans and uncommon cantilevers. Concrete, to which architecture is integrated, through which it is able to discard the foregone conclusions of rationalism, with its monotony and repetitious solutions.
A concern for beauty, a zest for fantasy, and an ever-present element of surprise bear witness that today's architecture is not a minor craft bound to straight-edge rules, but an architecture imbued with technology: light, creative and unfettered, seeking out its architectural scene.

 

Oscar Niemeyer

 

While the preceding argument has tried in every possible manner, conceivable and inconceivable, to have it recognized that Mozart’s Don Juan takes the highest place among all classical works, it has made practically no attempt to prove that this work is really a classic; for the suggestions found here and there, precisely as being only suggestions, show that they are not intended to furnish proof, but only to afford an opportunity for enlightenment. This procedure may seem more than peculiar. The proof that Don Juan is a classic work is in the strictest sense a problem for thought; while, on the contrary, the other attempt, with regard to the exact sphere of thought, is quite irrelevant. The movement of thought is satisfied with having it recognized that Don Juan is a classic, and that every classic production is equally perfect; to desire to do more than that is for thought a thing of evil. In this way the preceding argument involves itself in a self-contradiction and easily dissolves into nothing. This is, however, quite correct, and such a self-contradiction is deeply rooted in human nature. My admiration, my sympathy, my piety, the child in me, the woman in me, demanded more than thought could give. My thought found repose, rested happy in its knowledge; then I came to it and begged it yet once more to set itself in motion, to venture the utmost. I knew very well that it was in vain; but since I am accustomed to living on good terms with my thought, it did not refuse me. However, its efforts accomplish nothing; incited by me it constantly transcended itself, and constantly fell back into itself. It constantly sought a foothold, but could not find it; constantly sought bottom, but could neither swim nor wade. It was something both to laugh at and to weep over. Hence, I did both, and I was very thankful that it had not refused me this service. And although I know perfectly well that it will accomplish nothing, I am still as likely to ask it once more to play the same game, which is to me an inexhaustible source of delight. Any reader who finds the game tiresome is, of course, naturally not of my kind; for him the game has no significance, and it is true here as elsewhere, that like-minded children make the best play-fellows.

 

Soren Aabye Kierkegaard