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Thom Mayne is an American architect born on January 19, 1944. He is known for his innovative and unconventional architectural designs. Mayne is the founder of the architectural firm Morphosis and has received numerous awards for his work, including the Pritzker Architecture Prize in 2005. His projects often challenge traditional architectural norms and explore new forms and materials. Thom's contributions to architecture have made him a significant figure in contemporary design.
"The aesthetic of architecture has to be rooted in a broader idea about human activities like walking, relaxing and communicating. Architecture thinks about how these activities can be given added value."
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"The aesthetic of architecture has to be rooted in a broader idea about human activities like walking, relaxing and communicating. Architecture thinks about how these activities can be given added value."

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18
"I'm often called an old-fashioned modernist. But the modernists had the absurd idea that architecture could heal the world. That's impossible. And today nobody expects architects to have these grand visions any more."
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"I'm often called an old-fashioned modernist. But the modernists had the absurd idea that architecture could heal the world. That's impossible. And today nobody expects architects to have these grand visions any more."

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5
"I've learned that in order to achieve what I wanted, it made more sense to negotiate than to defend the autonomy of my work by pounding my fist on the table."
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"I've learned that in order to achieve what I wanted, it made more sense to negotiate than to defend the autonomy of my work by pounding my fist on the table."

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5
"It's too simplistic to advance the notion of the autonomy of art as a reason for turning away from the public. You can have autonomy and simultaneously have connections with the social and political world."
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"It's too simplistic to advance the notion of the autonomy of art as a reason for turning away from the public. You can have autonomy and simultaneously have connections with the social and political world."

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15
"Descriptions of my work depress me. They make me feel pinned down."
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"Descriptions of my work depress me. They make me feel pinned down."

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8
"Scientific reality is the modern human condition, and you can see that in the symbolic nature of my work."
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"Scientific reality is the modern human condition, and you can see that in the symbolic nature of my work."

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11
"You might say that when you step inside, you're entering a honorific space, but that's something totally different than experiencing it. And in architecture the experience comes first. That has the deepest effect on us."
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"You might say that when you step inside, you're entering a honorific space, but that's something totally different than experiencing it. And in architecture the experience comes first. That has the deepest effect on us."

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6
"For me the meaning of my work is much more fluid."
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"For me the meaning of my work is much more fluid."

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8
"We only exist in terms of how we think we exist. Meaning every cultural development is fabricated and can be fabricated."
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"We only exist in terms of how we think we exist. Meaning every cultural development is fabricated and can be fabricated."

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6
"My buildings don't speak in words but by means of their own spaciousness."
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"My buildings don't speak in words but by means of their own spaciousness."

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4
"So we can't go backwards, we can only go where the evolutionary trajectory is taking us and attune our ideas about ourselves and our existence to that course."
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"So we can't go backwards, we can only go where the evolutionary trajectory is taking us and attune our ideas about ourselves and our existence to that course."

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8
"The huge problem in our society is the enormous ignorance of the ideas that underlie modern art."
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"The huge problem in our society is the enormous ignorance of the ideas that underlie modern art."

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5
"Our idea of nature is increasingly being determined by scientific developments. And they have become decisive for our image of reality."
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"Our idea of nature is increasingly being determined by scientific developments. And they have become decisive for our image of reality."

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3
"So I am totally aware that when I defend the autonomy of art I'm going counter to my own development. It's more an instinctive reaction, meant to protect the private aspect of the work, the part I am most interested in and which nowadays is at risk in our culture."
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"So I am totally aware that when I defend the autonomy of art I'm going counter to my own development. It's more an instinctive reaction, meant to protect the private aspect of the work, the part I am most interested in and which nowadays is at risk in our culture."

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7
"The multiplicity of ideas is what I'm interested in."
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"The multiplicity of ideas is what I'm interested in."

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6
"Large-scale public projects require the agreement of large numbers of people."
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"Large-scale public projects require the agreement of large numbers of people."

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6
"But I absolutely believe that architecture is a social activity that has to do with some sort of communication or places of interaction, and that to change the environment is to change behaviour."
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"But I absolutely believe that architecture is a social activity that has to do with some sort of communication or places of interaction, and that to change the environment is to change behaviour."

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10
"So at a time in which the media give the public everything it wants and desires, maybe art should adopt a much more aggressive attitude towards the public. I myself am very much inclined to take this position."
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"So at a time in which the media give the public everything it wants and desires, maybe art should adopt a much more aggressive attitude towards the public. I myself am very much inclined to take this position."

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7
"Architecture is involved with the world, but at the same time it has a certain autonomy. This autonomy cannot be explained in terms of traditional logic because the most interesting parts of the work are non-verbal. They operate within the terms of the work, like any art."
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"Architecture is involved with the world, but at the same time it has a certain autonomy. This autonomy cannot be explained in terms of traditional logic because the most interesting parts of the work are non-verbal. They operate within the terms of the work, like any art."

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6
"I've been such an outsider my whole life."
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"I've been such an outsider my whole life."

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8
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