And infrastructure, on its already tenuous livability, overrides any aesthetic. … Art becomes worthless in a city brutalized by overdevelopment.
ADA LOUISE HUXTABLEPostmodernism is a freewheeling, unfettered, and unapologetic pursuit of style.
More Ada Louise Huxtable Quotes
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Surrogate experience and surrogate environments have become the American way of life.
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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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Every age cuts and pastes history to suit its own purposes; art always has an ax to grind.
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All autonomous agencies and authorities, sooner or later, turn into self-perpetuating strongholds of conventional thought and practice.
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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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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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A disaster where marble has been substituted for imagination.
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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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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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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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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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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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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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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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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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