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
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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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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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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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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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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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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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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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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That turns the Jersey wasteland into a pretty classy dump.
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Postmodernism is a freewheeling, unfettered, and unapologetic pursuit of style.
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The skyscraper is the point where art and the city meet.
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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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Washington is an endless series of mock palaces clearly built for clerks.
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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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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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