Today, when so much seems to conspire to reduce life and feeling to the most deprived and demeaning bottom line,
ADA LOUISE HUXTABLEThat turns the Jersey wasteland into a pretty classy dump.
More Ada Louise Huxtable Quotes
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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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. 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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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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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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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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A disaster where marble has been substituted for imagination.
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The New York Hilton is laid out with a competence that would make a computer blush.
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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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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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Clutter in its highest and most organized form is called collecting.
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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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It is more important than ever that we receive that extra dimension of dignity or delight and the elevated sense of self that the art of building can provide through the nature of the places where we live and work.
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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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