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.
ADA LOUISE HUXTABLEIt 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.
More Ada Louise Huxtable Quotes
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That turns the Jersey wasteland into a pretty classy dump.
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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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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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. Any city gets what it admires, will pay for, and, ultimately, deserves. Even when we had Penn Station, we couldn’t afford to keep it clean.
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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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And infrastructure, on its already tenuous livability, overrides any aesthetic. … Art becomes worthless in a city brutalized by overdevelopment.
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Washington is an endless series of mock palaces clearly built for clerks.
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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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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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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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The New York Hilton is laid out with a competence that would make a computer blush.
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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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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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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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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.
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