Chỉ có hai thời điểm mà ta không bị ràng buộc bởi bất cứ điều gì. Đó là lúc ta sinh ra đời và lúc ta nhắm mắt xuôi tay.Tủ sách Rộng Mở Tâm Hồn
Đừng chờ đợi những hoàn cảnh thật tốt đẹp để làm điều tốt đẹp; hãy nỗ lực ngay trong những tình huống thông thường. (Do not wait for extraordinary circumstances to do good action; try to use ordinary situations. )Jean Paul
Hãy học cách vui thích với những gì bạn có trong khi theo đuổi tất cả những gì bạn muốn. (Learn how to be happy with what you have while you pursue all that you want. )Jim Rohn
Càng giúp người khác thì mình càng có nhiều hơn; càng cho người khác thì mình càng được nhiều hơn.Lão tử (Đạo đức kinh)
Trực giác của tâm thức là món quà tặng thiêng liêng và bộ óc duy lý là tên đầy tớ trung thành. Chúng ta đã tạo ra một xã hội tôn vinh tên đầy tớ và quên đi món quà tặng. (The intuitive mind is a sacred gift and the rational mind is a faithful servant. We have created a society that honor the servant and has forgotten the gift.)Albert Einstein
Thêm một chút kiên trì và một chút nỗ lực thì sự thất bại vô vọng cũng có thể trở thành thành công rực rỡ. (A little more persistence, a little more effort, and what seemed hopeless failure may turn to glorious success. )Elbert Hubbard
Xưa, vị lai, và nay, đâu có sự kiện này: Người hoàn toàn bị chê,người trọn vẹn được khen.Kinh Pháp cú (Kệ số 228)
Khi mọi con đường đều bế tắc, đừng từ bỏ. Hãy tự vạch ra con đường của chính mình. (When all the ways stop, do not give up. Draw a way on your own.)Sưu tầm
Khó thay được làm người, khó thay được sống còn. Khó thay nghe diệu pháp, khó thay Phật ra đời!Kinh Pháp Cú (Kệ số 182)
Nếu quyết tâm đạt đến thành công đủ mạnh, thất bại sẽ không bao giờ đánh gục được tôi. (Failure will never overtake me if my determination to succeed is strong enough.)Og Mandino
Điều quan trọng nhất bạn cần biết trong cuộc đời này là bất cứ điều gì cũng có thể học hỏi được.Rộng Mở Tâm Hồn
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At last people are beginning to see that it is possible, and important in human terms, to
respect old buildings, street plans and traditional scales and at the same time not to feel
guilty about a preference for facades, ornaments and soft materials. At last, after
witnessing the wholesale destruction of Georgian and Victorian housing in most of our
cities, people have begun to realize that it is possible to restore old buildings and, what
is more, that there are architects willing to undertake such projects.
For far too long, it seems to me, some planners and architects have consistently ignored
the feelings and wishes of the mass of ordinary people in this country. Perhaps, when
you think about if, it is hardly surprising as architects tend to have been trained to
design buildings from scratch to tear down and rebuild ... A large number of us have
developed a feeling that architects tend to design houses for the approval of fellow
architects and critics, not for the tenants.
To be concerned about the way people live, about the environment they inhabit and the
kind of community that is created by that environment should surely be one of the prime
requirements of a really good architect. It has been most encouraging to see the
development of community architecture as a natural reaction to the policy of decanting
people to new towns and overspill estates where the extended family patterns of support
were destroyed and the community life was lost. Now, moreover, we are seeing the
gradual expansion of housing cooperatives, particularly in the innercity areas of
Liverpool, where the tenants are able to work with an architect of their own who listens to
their comments and their ideas and tries to design the kind of environment they want,
rather than the kind which tends to be imposed upon them without any degree of choice...
What I believe is important about community architecture is that it has shown ordinary
people that their views are worth having; that architects and planners do not necessarily
have the monopoly of knowing best about taste, style and planning; that they need not
be made to feel guilty or ignorant if their natural preference is for the more traditional
designs for a small garden, for courtyards, arches and porches and that there is a
growing number of architects prepared to listen and to offer imaginative ideas...
It would be a tragedy if the character and skyline of our capital city were to be further
ruined and St Paul's dwarfed by yet another giant glass stump, better suited to
downtown Chicago than the City of London. It is hard to imagine that London before the
last war must have had one of the most beautiful skylines of any great city, if those who
recall it are to be believed. Those who do, say that the affinity between buildings and the
earth, in spite of the city's immense size, was so close and organic that the houses
looked almost as though they had grown out of the earth and had not been imposed
upon it grown, moreover, in such a way that as few trees as possible were thrust out of
the way. Those who knew it then and loved it, as so many British love Venice without
concrete stumps and glass towers, and those who can imagine what it was like, must
associate with the sentiments in one of Aldous Huxley's earliest and most successful
novels. Antic Hay, where the main character, an unsuccessful architect, reveals a model
of London as Christopher Wren wanted to rebuild it after the Great Fire and describes
how Wren was so obsessed with the opportunity the fire gave the city to rebuild itself
into a greater and more glorious vision. What, then, are we doing to our capital city now?
What have we done to it since the bombing during the war? What are we shortly going to
do to one of its most famous areas Trafalgar Square? Instead of designing an extension
to the elegant facade of the National Gallery which complements it and continues the
concept of columns and domes, it looks as if we may be presented with a kind of vast
municipal fire station, complete with the sort of tower that contains the siren.
I would understand better this type of High Tech approach if you demolished the whole of
Trafalgar Square and started again with a single architect responsible for the entire
layout, but what is proposed is like a monstrous carbuncle on the face of a much loved
and elegant friend. Apart from anything else, it defeats me why anyone wishing to display
the early Renaissance pictures belonging to the gallery should do so in a new gallery so
manifestly at odds with the whole spirit of that age of astonishing proportion. Why can't
we have those curves and arches that express feeling in design? What is wrong with them? Why has everything got to be vertical, straight, unbending, only at right angles and functional?
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Viên Hiếu Thành Huệ Lộc 1959 Bữu Phước Chúc Huy Minh Pháp Tự minh hung thich Diệu Âm Phúc Thành Phan Huy Triều Phạm Thiên Trương Quang Quý Johny Dinhvinh1964 Pascal Bui Vạn Phúc Giác Quý Trần Thị Huyền Chanhniem Forever NGUYỄN TRỌNG TÀI KỲ Dương Ngọc Cường Mr. Device Tri Huynh Thích Nguyên Mạnh Thích Quảng Ba T TH Tam Thien Tam Nguyễn Sĩ Long caokiem hoangquycong Lãn Tử Ton That Nguyen ngtieudao Lê Quốc Việt Du Miên Quang-Tu Vu phamthanh210 An Khang 63 zeus7777 Trương Ngọc Trân Diệu Tiến ... ...
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Viên Hiếu Thành Huệ Lộc 1959 Bữu Phước Chúc Huy Minh Pháp Tự minh hung thich Diệu Âm Phúc Thành Phan Huy Triều Phạm Thiên Trương Quang Quý Johny Dinhvinh1964 Pascal Bui Vạn Phúc Giác Quý Trần Thị Huyền Chanhniem Forever NGUYỄN TRỌNG TÀI KỲ Dương Ngọc Cường Mr. Device Tri Huynh Thích Nguyên Mạnh Thích Quảng Ba T TH Tam Thien Tam Nguyễn Sĩ Long caokiem hoangquycong Lãn Tử Ton That Nguyen ngtieudao Lê Quốc Việt Du Miên Quang-Tu Vu phamthanh210 An Khang 63 zeus7777 Trương Ngọc Trân Diệu Tiến ... ... ... ...