#quoties

[masterofthew1cket]

"I'm gonna scream a large scrum" - @stupidlilgoldfish

[salazar-slanderin]

How many other American kids thought Professor McGonigall literally had a sewing tin of Popeye’s style biscuits on her damn desk?

[borninov]

Tổn thương quá nhiều khiến tôi dễ hoài nghi với mọi thứ tốt đẹp xung quanh, đến mức tôi chẳng dám tin ai, ngay cả chính bản thân mình.

borninov

[so-chill-mochill]

but if you ever wanna fall in love with me hit me up with what I can do to make that a smooth transition

The best boy I've ever friendzoned

[masterofthew1cket]

"That haircut is not it, woke dog" -@stupidlilgoldfish

[homesoutofhuman]

You--you strange, you almost unearthly thing!--I love as my own flesh.

Charlotte Brontë, Jane Eyre

[mechanicalseverance]

With nearly 30 per cent more to say than God, Patrik [Schumacher] is a rare and terrifying occurrence in academia.

Mark Foster Gage, “A Hospice for Parametricism” (2016)

[mechanicalseverance]

The monocular vision of the subject in architecture allows for all projections of space to be resolved on a single planimetric surface. It is therefore not surprising that perspective, with its ability to define and reproduce the perception of depth on a two-dimensional surface, should find architecture a waiting and wanting vehicle. Nor is it surprising that architecture soon began to conform itself to this monocular, rationalising vision – in its own body. Whatever the style, space was constituted as an understandable construct, organised around spatial elements such as axes, places, symmetries, etc. Perspective is even more virulent in architecture than in painting because of the imperious demands of the eye and the body to orient itself in architectural space through processes of rational perspectival ordering. It was thus not without cause that Brunelleschi’s invention of one-point perspective should correspond to a time when there was a paradigm shift from the theological and theocentric to the anthropomorphic and anthropocentric views of the world. Perspective became the vehicle by which anthropocentric vision crystallised itself in the architecture that followed this shift.

Peter Eisenman’s 1992 essay “Visions Unfolding: Architecture in the Age of Electronic Media” for AD