Nothing was more up-to-date when it was built, or is more obsolete today, than the railroad station.
ADA LOUISE HUXTABLEPostmodernism is a freewheeling, unfettered, and unapologetic pursuit of style.
More Ada Louise Huxtable Quotes
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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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Summer is the time when one sheds one’s tensions with one’s clothes, and the right kind of day is jeweled balm for the battered spirit. A few of those days and you can become drunk with the belief that all’s right with the world.
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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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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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. 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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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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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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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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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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Waiting is a special kind of activity – if activity is the right word for it – because we are held in enforced suspension between people and places, removed from the normal rhythms of our days and lives.
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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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Every age cuts and pastes history to suit its own purposes; art always has an ax to grind.
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Symbol and metaphor are as much a part of the architectural vocabulary as stone and steel.
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In Paris style is everything. That is traditionally understood. Every street, every structure, every shopgirl has style.
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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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