Today, when so much seems to conspire to reduce life and feeling to the most deprived and demeaning bottom line,
ADA LOUISE HUXTABLEReally living without clutter takes an iron will … This involves eternal watchfulness and that oldest and most relentless of the housewife’s occupations, picking up.
More Ada Louise Huxtable Quotes
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The perennial architectural debate has always been, and will continue to be, about art versus use, visions versus pragmatism, aesthetics versus social responsibility.
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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.
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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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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
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Symbol and metaphor are as much a part of the architectural vocabulary as stone and steel.
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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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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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If you will; they are places for doing nothing and they have no life of their own. … their one constant is what might be called a decorative rigor mortis.
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The art of decoration requires the most sophisticated and self-indulgent skills. Its aim has always been to sate the senses as gloriously as possible. … ornament is not only a source of sensuous pleasure
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Washington is an endless series of mock palaces clearly built for clerks.
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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.
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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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No matter what an architect may be at home, he becomes a monumentalist when he comes to Washington.
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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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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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