Việc người khác ca ngợi bạn quá hơn sự thật tự nó không gây hại, nhưng thường sẽ khiến cho bạn tự nghĩ về mình quá hơn sự thật, và đó là khi tai họa bắt đầu.Rộng Mở Tâm Hồn
Do ái sinh sầu ưu,do ái sinh sợ hãi; ai thoát khỏi tham ái, không sầu, đâu sợ hãi?Kinh Pháp Cú (Kệ số 212)
Bằng bạo lực, bạn có thể giải quyết được một vấn đề, nhưng đồng thời bạn đang gieo các hạt giống bạo lực khác.Đức Đạt-lai Lạt-ma XIV
Cái hại của sự nóng giận là phá hoại các pháp lành, làm mất danh tiếng tốt, khiến cho đời này và đời sau chẳng ai muốn gặp gỡ mình.Kinh Lời dạy cuối cùng
Kẻ ngốc nghếch truy tìm hạnh phúc ở xa xôi, người khôn ngoan gieo trồng hạnh phúc ngay dưới chân mình.
(The foolish man seeks happiness in the distance, the wise grows it under his feet. )James Oppenheim
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
Khó khăn thách thức làm cho cuộc sống trở nên thú vị và chính sự vượt qua thách thức mới làm cho cuộc sống có ý nghĩa.
(Challenges are what make life interesting and overcoming them is what makes life meaningful. )Joshua J. Marine
Con người sinh ra trần trụi và chết đi cũng không mang theo được gì. Tất cả những giá trị chân thật mà chúng ta có thể có được luôn nằm ngay trong cách mà chúng ta sử dụng thời gian của đời mình.Tủ sách Rộng Mở Tâm Hồn
Hào phóng đúng nghĩa với tương lai chính là cống hiến tất cả cho hiện tại. (Real generosity toward the future lies in giving all to the present.)Albert Camus
Đừng than khóc khi sự việc kết thúc, hãy mỉm cười vì sự việc đã xảy ra.
(Don’t cry because it’s over, smile because it happened. )Dr. Seuss
Cuộc sống xem như chấm dứt vào ngày mà chúng ta bắt đầu im lặng trước những điều đáng nói.
(Our lives begin to end the day we become silent about things that matter. )Martin Luther King Jr.
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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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