Beauty or beast, the modern skyscraper is a major force with a strong magnetic field. It draws into its physical being all of the factors that propel and characterize modern civilization. The skyscraper is the point where art and the city meet.
The perennial architectural debate has always been, and will continue to be, about art versus use, visions versus pragmatism, aesthetics versus social responsibility. In the end, these unavoidable conflicts provide architecture's essential and productive tensions; the tragedy is that so little of it rises above the level imposed by compromise, and that this is the only work most of us see and know.
Until the first blow fell, no one was convinced that Penn Station really would be demolished, or that New York would permit this monumental act of vandalism against one of the largest and finest landmarks of its age of Roman elegance. Any city gets what it admires, will pay for, and, ultimately, deserves. Even when we had Penn Station, we couldn’t afford to keep it clean. We want and deserve tin-can architecture in a tinhorn culture. And we will probably be judged not by the monuments we build but by those we have destroyed
Every creative act draws on the past whether it pretends to or not. It draws on what it knows. There's no such thing, really, as a creative act in a vacuum.
In Paris style is everything. That is traditionally understood. Every street, every structure, every shopgirl has style. The style of Parisian architecture has been proved and refined by at least three centuries of academic dictates and highly developed taste. There are few violations of this taste, and there is exemplary architectural consistency. Paris has defined the aesthetics of a sophisticated urban culture.
Summer is the time when one sheds one's tensions with one's clothes, and the right kind of day is jeweled balm for the battered spirit. A few of those days and you can become drunk with the belief that all's right with the world.
Good architecture is still the difficult, conscientious, creative, expressive planning for that elusive synthesis that is a near-contradiction in terms: efficiency and beauty.
the search for the ultimate skyscraper goes on. ... At worst, overbuilding will make urban life unbearable. At best, we will go out in a blaze of style.
What counts more than style is whether architecture improves our experience of the built world; whether it makes us wonder why we never noticed places in quite this way before.
Some people wait constructively; they read or knit. I have watched some truly appalling pieces of needlework take form. Others - I am one of them - abandon all thought and purpose to an uneasy vegetative states.
California ... is the place that sets the trends and establishes the values for the rest of the country; like a slow ooze, California culture spreads eastward across the land.
In New York, the impact of these concentrated superskyscrapers on street scale and sunlight, on the city's aniquated support systems, circulation, and infrastructure, on its already tenuous livability, overrides any aesthetic. ... Art becomes worthless in a city brutalized by overdevelopment.