That turns the Jersey wasteland into a pretty classy dump.
ADA LOUISE HUXTABLEThe gamble of triumph or tragedy at this scale – and ultimately it is a gamble – demands an extraordinary payoff. The trade center towers could be the start of a new skyscraper age or the biggest tombstones in the world.
More Ada Louise Huxtable Quotes
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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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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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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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A disaster where marble has been substituted for imagination.
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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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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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Nothing was more up-to-date when it was built, or is more obsolete today, than the railroad station.
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The gamble of triumph or tragedy at this scale – and ultimately it is a gamble – demands an extraordinary payoff. The trade center towers could be the start of a new skyscraper age or the biggest tombstones in the world.
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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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I have a feeling that picking up will go on long after ways have been found to circumvent death and taxes.
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Postmodernism is a freewheeling, unfettered, and unapologetic pursuit of style.
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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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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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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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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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No matter what an architect may be at home, he becomes a monumentalist when he comes to Washington.
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Real estate is the closest thing to the proverbial pot of gold.
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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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Every creative act draws on the past whether it pretends to or not. It draws on what it knows. There’s no such thing, really, as a creative act in a vacuum.
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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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The age of Lincoln and Jefferson memorials is over. It will be presidential libraries from now on.
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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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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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Surrogate experience and surrogate environments have become the American way of life.
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Every generation tailors history to its taste.
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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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