Today, when so much seems to conspire to reduce life and feeling to the most deprived and demeaning bottom line,
ADA LOUISE HUXTABLEAn excellent job with a dubious undertaking, which is like saying it would be great if it wasn’t awful.
More Ada Louise Huxtable Quotes
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That turns the Jersey wasteland into a pretty classy dump.
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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.
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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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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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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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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 age of Lincoln and Jefferson memorials is over. It will be presidential libraries from now on.
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In Paris style is everything. That is traditionally understood. Every street, every structure, every shopgirl has style.
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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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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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A disaster where marble has been substituted for imagination.
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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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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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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.
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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.
ADA LOUISE HUXTABLE