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.
ADA LOUISE HUXTABLESymbol and metaphor are as much a part of the architectural vocabulary as stone and steel.
More Ada Louise Huxtable Quotes
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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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If the British are a nation of shopkeepers, Americans are a nation of shoppers.
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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 is the rare architect who does not hope in his heart to design a great building and for whom the quest is not a quiet, consuming passion.
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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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Every generation tailors history to its taste.
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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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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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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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Summer is the time when one sheds one’s tensions with one’s clothes, and the right kind of day is jeweled balm for the battered spirit. A few of those days and you can become drunk with the belief that all’s right with the world.
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New York, thy name is irreverence and hyperbole. And grandeur.
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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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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
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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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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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