cantabile
@cantabile
77 okur puanı
Temmuz 2017 tarihinde katıldı
''Bu nedenle akıllı komutan yiyeceğini düşmandan sağlamaya dikkat eder. Düşmanın bir cung yiyeceği bizim yirmi cung yiyeceğimize, bir dan hayvan yemi bizim yirmi dan yemimize bedeldir.''
“Kötü bir anıyı unutmanın en iyi yolu güzel bir tanesiyle değişmektir.”
''Imagine being able to return at the close of each day to a house like that in Rö, north of Stockholm. Our working routines may be frantic and compromised, dense with meetings, insincere handshakes, small-talk and bureaucracy. We may say things we don’t believe in to win over our colleagues and feel ourselves becoming envious and excited in relation to goals we don’t essentially care for. But, finally, on our own, looking out of the hall window onto the garden and the gathering darkness, we can slowly resume contact with a more authentic self, who was there waiting in the wings for us to end our performance. Our submerged playful sides will derive encouragement from the painted flowers on either side of the door. The value of gentleness will be confirmed by the delicate folds of the curtains. Our interest in a modest, tender-hearted kind of happiness will be fostered by the unpretentious raw wooden floorboards. The materials around us will speak to us of the highest hopes we have for ourselves. In this setting, we can come close to a state of mind marked by integrity and vitality. We can feel inwardly liberated. We can, in a profound sense, return home.
Without honouring any gods, a piece of domestic architecture, no less than a mosque or a chapel, can assist us in the commemoration of our genuine selves.''
''If, to take Arnheim’s exercise several steps further, we were tasked with producing metaphoric images of Germany in two periods of her history, as a fascist state and a democratic republic, and if we were allowed to work with
stone, steel and glass rather than with just a pencil, it is likely we could not better the iconic designs of Albert Speer and Egon Eiermann, who created national pavilions for World’s Fairs on either side of the Second World War. Speer’s offering, for the Paris Fair of 1937, makes use of the quintessential visual metaphors of power: height, mass and shadow. Without even laying eyes on the insignia of the government which sponsored it, we would almost certainly sense something ominous, aggressive and defiant emanating from this 500-foot Neoclassical colossus. Twenty one years and a world war later, in his German Pavilion for the 1958 World Exposition in Brussels, Egon Eiermann would resort to a trio of very different metaphors: horizontality to suggest calm, lightness to imply gentleness and transparency to evoke democracy.
So eloquent are materials and colours, then, that a façade can be made to speak of how a country should be ruled and which principles ought to govern its foreign policy. Political and ethical ideas can be written into window frames and door handles. An abstract glass box on a stone plinth can deliver a paean to tranquility and civilization.''
''Hırsları, kederleri, zevkleri ve tecrübeleri ve her an genç kalan vehimleri, gübrenin, yağmurun, rüzgarların ve güneşin çiçeklere yaptığı gibi, onu derece derece geliştirmişti. Varlığının nesi varsa, hepsi, nihayet açılıp saçılıyordu.''
''Adı çıkacağına canı çıksın derler. Adım çıktı diye canım niye çıksın? Hele şu adımla canımı çıkaranlara bakındı bir! Canımın onların çıkardığı adımla, ne ilgisi var? Ben kendi hayatımı yaşarken, isteyen adımla kalır. Benim hayatım kendi beynimin içinde ve başımda yaşıyor, hayatım başkasının beyninde ve o beynin benimle ilgili anlayışında yaşamıyor ki, bana hakaret edenlere, namusuma saldıranlara hemen öfkelenmem gereksin. Ama zorla değil ya, hiç öfkelenmiyordum, alışılan öfkelenmektir, diye öfke taslamak zahmetine de katlanamıyordum. Ben neysem oyum, ne övünmekle yükselir, ne de yerilmekle alçalırım.''
