Norman Foster
Architect
1935-06-01
Quotes by Norman Foster
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We now think it hilarious that medieval streets were used as open sewers. Equally, our descendants will say: 'You won't believe this, but people were once allowed to hurl a couple of tons of dangerous metal around smashing into each other.'
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There's a snobbery at work in architecture. The subject is too often treated as a fine art, delicately wrapped in mumbo-jumbo. In reality, it's an all-embracing discipline taking in science, art, maths, engineering, climate, nature, politics, economics.
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Surveys often show people would prefer a detached house with a lawn and driveway to an apartment. I understand this. It's not my place to presume to tell people where they can live. But perhaps that dream will simply not be possible in the future.
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I love flying; I love aircraft, and you could say I've had a love affair with flight since I was a child. I travel a huge amount. I use airports, and as a pilot, I've flown in and out of airports thousands of times, so really, I have a fairly broad perspective.
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I describe the design process as like the tip of the iceberg. What you don't see is the long haul: all the endless auditing and things like that.
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You cannot separate the buildings out from the infrastructure of cites and the mobility of transit.
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I'm not a creature of habit. I like to find things from unexpected sources.
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As an architect, you design for the present, with an awareness of the past, for a future which is essentially unknown.
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In Britain, the idea one could go from blue-collar beginnings to the university was so far out, it was quite unthinkable. I took a variety of jobs to pay for tuition - from ice-cream salesman to night-club bouncer. Whatever earned the most money in the least time.
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The most amazing lesson in aerodynamics I ever had was the day I climbed a thermal in a glider at the same time as an eagle. I witnessed, close up, effortlessness and lightness combined with strength, precision and determination.
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When the Great Fire of London destroyed most of the medieval city in 1666, Christopher Wren was invited to design a new one. Within days, he had drawn up an elegant grid of broad boulevards leading to majestic squares, but it came to nothing - the existing landowners wanted things as they had been.
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Control is the wrong word. The practice is very much about sharing, and, in any creative practice, some individuals, whether partners or directors, are much closer to certain projects than I could ever be.
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