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.
ADA LOUISE HUXTABLEAn excellent job with a dubious undertaking, which is like saying it would be great if it wasn’t awful.
More Ada Louise Huxtable Quotes
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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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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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Postmodernism is a freewheeling, unfettered, and unapologetic pursuit of style.
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Really living without clutter takes an iron will … This involves eternal watchfulness and that oldest and most relentless of the housewife’s occupations, picking up.
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Every generation tailors history to its taste.
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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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There are few violations of this taste, and there is exemplary architectural consistency. Paris has defined the aesthetics of a sophisticated urban culture.
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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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The age of Lincoln and Jefferson memorials is over. It will be presidential libraries from now on.
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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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That turns the Jersey wasteland into a pretty classy dump.
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Today, when so much seems to conspire to reduce life and feeling to the most deprived and demeaning bottom line,
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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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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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