The style of Parisian architecture has been proved and refined by at least three centuries of academic dictates and highly developed taste.
ADA LOUISE HUXTABLEThe 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.
More Ada Louise Huxtable Quotes
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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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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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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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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.
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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.
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Real estate is the closest thing to the proverbial pot of gold.
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Waiting is a large part of living. Great, passive, negative chunks of our time are consumed by waiting, from birth to death.
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It supplies a necessary kind of magic to people and places that lack it. More than just a dread of empty spaces has led to the urge to decorate; it is the fear of empty selves.
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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.
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Washington is an endless series of mock palaces clearly built for clerks.
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. 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.
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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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It is the rare architect who does not hope in his heart to design a great building and for whom the quest is not a quiet, consuming passion.
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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.
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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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