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The building is a national tragedy – a cross between a concrete candy box and a marble sarcophagus in which the art of architecture lies buried.

Ada Louise Huxtable

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.
ADA LOUISE HUXTABLE

Horror Kid Mean People Two Vacuum World
Postmodernism is a freewheeling, unfettered, and unapologetic pursuit of style.
ADA LOUISE HUXTABLE

Architecture Pursuit Style Unapologetic Unfettered
No matter what an architect may be at home, he becomes a monumentalist when he comes to Washington.
ADA LOUISE HUXTABLE

Home Matter May Monummentaist
In Paris style is everything. That is traditionally understood. Every street, every structure, every shopgirl has style.
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Consistency Everything Paris Structure Style
The New York Hilton is laid out with a competence that would make a computer blush.
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Blush Competence Country Computer Laid
Every age cuts and pastes history to suit its own purposes; art always has an ax to grind.
ADA LOUISE HUXTABLE

Art Cutting Grind History Purpose
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.
ADA LOUISE HUXTABLE

Appaling Needlework People Piece Some Truly
Clutter in its highest and most organized form is called collecting.
ADA LOUISE HUXTABLE

Clutter Collecting Form Highest Organised
And infrastructure, on its already tenuous livability, overrides any aesthetic. … Art becomes worthless in a city brutalized by overdevelopment.
ADA LOUISE HUXTABLE

Aesthetic City Infrastructure Override Sunlight
I have a feeling that picking up will go on long after ways have been found to circumvent death and taxes.
ADA LOUISE HUXTABLE

Circumvent Death Feeling Found Tax
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.
ADA LOUISE HUXTABLE

Architect Conflict Essential Little Tension Tragedy
Who’s afraid of the big, bad buildings? Everyone, because there are so many things about gigantism that we just don’t know.
ADA LOUISE HUXTABLE

Bad Big Building Gigantism Tombstone Tragedy Triumph
It is more important than ever that we receive that extra dimension of dignity or delight and the elevated sense of self that the art of building can provide through the nature of the places where we live and work.
ADA LOUISE HUXTABLE

Delight Dimension Extra Important Sense Wonder
Today, when so much seems to conspire to reduce life and feeling to the most deprived and demeaning bottom line,
ADA LOUISE HUXTABLE

Art Demeaning Deprived Feeling Reduce Self
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 HUXTABLE

Age Building Cities Dream Landmark Past Tall
Real estate is the closest thing to the proverbial pot of gold.
ADA LOUISE HUXTABLE

Estate Gold Pot Proverbial Real

The building is a national tragedy – a cross between a concrete candy box and a marble sarcophagus in which the art of architecture lies buried.

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The building is a national tragedy – a cross between a concrete candy box and a marble sarcophagus in which the art of architecture lies buried.

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