Ada Louise Huxtable Quotes, Dream Quotes, Men Quotes

Tossed into the Secaucus graveyard are about 25 centuries of classical culture and the standards of style, elegance and grandeur that it gave to the dreams and constructions of Western man. That turns the Jersey wasteland into a pretty classy dump.

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All autonomous agencies and authorities, sooner or later, turn into self-perpetuating strongholds of conventional thought and practice.

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Who’s afraid of the big, bad buildings? Everyone, because there are so many things about gigantism that we just don’t know. The gamble of triumph or tragedy at this scale — and ultimately it is a gamble — demands an extraordinary payoff. The trade center towers could be the start of a new skyscraper age or the biggest tombstones in the world.

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Only a Californian would have observed that it is becoming increasingly difficult to tell the real fake from the fake fake.

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The skyscraper and the twentieth century are synonymous; the tall building is the landmark of our age. ... Shaper of cities and fortunes, it is the dream, past and present, acknowledged or unacknowledged, of almost every architect.

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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.

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Tags : Ada Louise Huxtable Quotes , Style Quotes , Unbearable Quotes

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.

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There are two kinds of people in the world - those who have a horror of a vacuum and those with a horror of the things that fill it. Translated into domestic interiors, this means people who live with, and without, clutter.

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Tags : Ada Louise Huxtable Quotes , Mean Quotes , Two Quotes

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.

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Good architecture is still the difficult, conscientious, creative, expressive planning for that elusive synthesis that is a near-contradiction in terms: efficiency and beauty.

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A disaster where marble has been substituted for imagination.

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Real estate is the closest thing to the proverbial pot of gold.

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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.

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The New York Hilton is laid out with a competence that would make a computer blush.

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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

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The building is a national tragedy - a cross between a concrete candy box and a marble sarcophagus in which the art of architecture lies buried.

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New York, thy name is irreverence and hyperbole. And grandeur.

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Nothing was more up-to-date when it was built, or is more obsolete today, than the railroad station.

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The age of Lincoln and Jefferson memorials is over. It will be presidential libraries from now on.

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An excellent job with a dubious undertaking, which is like saying it would be great if it wasn't awful.

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