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.
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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Nothing was more up-to-date when it was built, or is more obsolete today, than the railroad station.
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That turns the Jersey wasteland into a pretty classy dump.
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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 New York Hilton is laid out with a competence that would make a computer blush.
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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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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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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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Who’s afraid of the big, bad buildings? Everyone, because there are so many things about gigantism that we just don’t know.
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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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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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The style of Parisian architecture has been proved and refined by at least three centuries of academic dictates and highly developed taste.
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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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And infrastructure, on its already tenuous livability, overrides any aesthetic. … Art becomes worthless in a city brutalized by overdevelopment.
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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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