Urban Landscapes Quotes

I saw New York differently after being in Paris for a few years.

Ultimately we need to recognize that while humans continue to build urban landscapes, we share these spaces with others species.

Inspiration is around you. Like, when I travel any country, be it Paris or London, while walking on the streets, the architecture, the restaurants all inspire me. Inspiration for design could be anywhere.

When I got to Mumbai, I missed the Delhi parks and grounds.

I like the 'Keystone Kops' storyline. It didn't actually go quite the way I wanted to, but it was another great way to show how different life was in these two different corners of the DCU, being on the ground in these different areas.

I do like to walk a lot. Mostly in New York. When I'm going somewhere, I'd rather just walk there.

People's backyards are much more interesting than their front gardens, and houses that back on to railways are public benefactors.

The idea (for the painting 'Room in New York', 1932, ed.) had been in my mind a long time before I painted it. It was suggested by glimpses of lighted interiors seen as I walked along city streets at night, probably near the district where I live (Washington Square, New York, fh) although it's no particular street or house, but is really a synthesis of many impressions.

I've always liked traveling around Europe and seeing the architecture. The buildings in capital cities have been there for hundreds and hundreds and hundreds of years. Some look better than the new ones.

There was a place I visited in Lahore that felt to me like old Delhi, and I'm sure Pakistanis who come from Lahore to Delhi feel the same.

Nothing can be more striking to one who is accustomed to the little inclosures called public parks in our American cities, than the spacious, open grounds of London. I doubt, in fact, whether any person fully comprehends their extent, from any of the ordinary descriptions of them, until he has seen them or tried to walk over them.

If London is a watercolor, New York is an oil painting.

All of us '60s pop stars came from old cities which had a jazz club, a folk club, a coffee house, and an art school.

I use New York to talk about home, but the ideas in 'Colossus' could be transferred to other cities. The story about Central Park is really about the first day of spring in any park. The Coney Island chapter is really about beaches and summer and heat waves.

Cities are distinguished by the catastrophic forms they presuppose and which are a vital part of their essential charm. New York is King Kong, or the blackout, or vertical bombardment: Towering Inferno. Los Angeles is the horizontal fault, California breaking off and sliding into the Pacific: Earthquake.

Lying in bed, he would think of Heaven and London.

After Land I wanted to continue exploring the theme but I needed a new challenge so turned to colour. I explored Bradford and produced a series of urban landscapes that I liked, but because Land had made such an impact on the general public my colour work wasn't reviewed.

My interest in architecture has always been sculptural. Most of my photography is of architecture.

Bleak factory buildings and billboard-cluttered avenues look as beautiful, through the camera's eye, as churches and pastoral landscapes.

On pavements and the bark of trees I have found whole worlds.

Self-builders are the adrenalin junkies of the DIY world; it's the equivalent of base-jumping off the top of the Gherkin to land in a paddling pool.

I have a strange habit of walking down streets and staring up, rather than looking at shopfronts and stuff like that.

I love to sit, to watch people; even in New York, I don't feel as free as in London.

There are a lot of interesting differences between Boston and New York in general, and I think they're sort of heightened in Long Island.

When I look back on the townscapes now, they do seem to me to recall certain images of the destruction of Dresden during the war.