We've been surrounded by images of space our whole lives, from the speculative images of science fiction to the inspirational visions of artists to the increasingly beautiful pictures made possible by complex technologies. But whilst we have an overwhelmingly vivid visual understanding of space, we have no sense of what space sounds like.
A route differs from a road not only because it is solely intended for vehicles, but also because it is merely a line that connects one point with another. A route has no meaning in itself; its meaning derives entirely from the two points that it connects. A road is a tribute to space. Every stretch of road has meaning in itself and invites us to stop. A route is the triumphant devaluation of space, which thanks to it has been reduced to a mere obstacle to human movement and a waste of time.
In my life, I've lived in very different kinds of places - very tiny rooms when I was young. And you do learn to cope with it. The funny thing is, as you begin to inhabit larger places, it's very interesting how quickly you adapt to your space. What seems enormous at first becomes natural after a few weeks.
Space and time are not objects of perception, but qualities of awareness
The world is a big place," he said, "but so is the inside of an apartment!
I think there's going to be a very sudden shift in people's perception of the International Space Station, because suddenly it's going to look much, much bigger than it already is.
The foyers now look ridiculously small to us because not all that many people used them.
It was hard for me to believe. I would look down and say, 'This is the moon, this is the moon,' and I would look up and say, 'That's the Earth, that's the Earth,' in my head. So, it was science fiction to us even as we were doing it.
If we behave like the kitchen is for adults, they become more wary of it and reluctant to go in it because it feels like it's a grown-up space.
Looking down at the Earth, you started to pick up a sense of speed much more than I had noticed on orbit.
The important thing about travel in foreign lands is that it breaks the speech habits and makes you blab less, and breaks the habitual space-feeling because of different village plans and different landscapes. It is less important that there are different mores, for you counteract these with your own reaction-formations.
Somehow, architecture alters the way we think about the world and the way we behave. Any serious architecture, as a litmus test, has to be that.
Nothing makes time pass or shortens the way like a thought that absorbs in itself all the faculties of the one who is thinking. External existence is then like a sleep of which this thought is the dream. Under its influence, time has no more measure, space has no more distance.
My mantra is, 'Don't be afraid of color.' What did it do to you? Do a color testing in alternate kinds of light you desire in the room because the pigment will change. And I refuse to believe that pale pale or white colors in a small room will buy you more square footage. Go with color all the way.
The idea of space is given to the artist to change if he can. The subject matter in the abstract is space.
We have spent billions to go to the moon - we go to this lesser satellite called the moon and say we are in space, but we are in space right now; we just don't feel ourselves to be in space. Some forms of art and some forms of spirituality do give us that sense.
I have a weird thing - if I can't see where all the walls in my house are, I get a little bit freaked out. I think New York has Stockholm Syndrome'd my sense of space and what a house should be.
Mars is not an aesthetic God.
There has been a great gulf in psychological thought between the perception of space and objects on one hand and the perception of meaning on the other.
There's something hypocritical about a city that keeps half of its population underground half of the time; you can start believing that there's much more space than there really is-to live, to work.
In football, time and space are the same thing.
