Nothing was more up-to-date when it was built, or is more obsolete today, than the railroad station.
ADA LOUISE HUXTABLESome 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.
More Ada Louise Huxtable Quotes
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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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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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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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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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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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If the British are a nation of shopkeepers, Americans are a nation of shoppers.
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In New York, the impact of these concentrated superskyscrapers on street scale and sunlight, on the city’s aniquated support systems, circulation
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Real serious waiting is done in waiting rooms, and what they all have in common is their purpose, or purposelessness,
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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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The age of Lincoln and Jefferson memorials is over. It will be presidential libraries from now on.
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Distinctions are no longer made, or deemed necessary, between the real and the false; the edge usually goes to the latter, as an improved version with defects corrected – accessible and user-friendly.
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Every generation tailors history to its taste.
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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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We want and deserve tin-can architecture in a tinhorn culture. And we will probably be judged not by the monuments we build but by those we have destroyed
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