All autonomous agencies and authorities, sooner or later, turn into self-perpetuating strongholds of conventional thought and practice.
ADA LOUISE HUXTABLEGood architecture is still the difficult, conscientious, creative, expressive planning for that elusive synthesis that is a near-contradiction in terms: efficiency and beauty.
More Ada Louise Huxtable Quotes
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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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A disaster where marble has been substituted for imagination.
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Postmodernism is a freewheeling, unfettered, and unapologetic pursuit of style.
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Today, when so much seems to conspire to reduce life and feeling to the most deprived and demeaning bottom line,
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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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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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California … is the place that sets the trends and establishes the values for the rest of the country; like a slow ooze, California culture spreads eastward across the land.
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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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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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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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Really living without clutter takes an iron will … This involves eternal watchfulness and that oldest and most relentless of the housewife’s occupations, picking up.
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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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Symbol and metaphor are as much a part of the architectural vocabulary as stone and steel.
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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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New York, thy name is irreverence and hyperbole. And grandeur.
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Every generation tailors history to its taste.
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Real serious waiting is done in waiting rooms, and what they all have in common is their purpose, or purposelessness,
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Waiting is a special kind of activity – if activity is the right word for it – because we are held in enforced suspension between people and places, removed from the normal rhythms of our days and lives.
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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 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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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.
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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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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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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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Real estate is the closest thing to the proverbial pot of gold.
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An excellent job with a dubious undertaking, which is like saying it would be great if it wasn’t awful.
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