An excellent job with a dubious undertaking, which is like saying it would be great if it wasn’t awful.
ADA LOUISE HUXTABLEThe style of Parisian architecture has been proved and refined by at least three centuries of academic dictates and highly developed taste.
More Ada Louise Huxtable Quotes
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Real estate is the closest thing to the proverbial pot of gold.
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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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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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Every age cuts and pastes history to suit its own purposes; art always has an ax to grind.
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Embellishment is an irresistible and consuming impulse, going back to the beginnings of human history.Probably the strongest motivating force is the simplest: the inability of almost everyone to ever leave well enough alone.
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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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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 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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And infrastructure, on its already tenuous livability, overrides any aesthetic. … Art becomes worthless in a city brutalized by overdevelopment.
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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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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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Waiting is a large part of living. Great, passive, negative chunks of our time are consumed by waiting, from birth to death.
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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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