Real estate is the closest thing to the proverbial pot of gold.
ADA LOUISE HUXTABLEBeauty 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.
More Ada Louise Huxtable Quotes
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The age of Lincoln and Jefferson memorials is over. It will be presidential libraries from now on.
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Embellishment is an irresistible and consuming impulse, going back to the beginnings of human history.Probably the strongest motivating force is the simplest: the inability of almost everyone to ever leave well enough alone.
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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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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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Real serious waiting is done in waiting rooms, and what they all have in common is their purpose, or purposelessness,
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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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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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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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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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The New York Hilton is laid out with a competence that would make a computer blush.
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The art of decoration requires the most sophisticated and self-indulgent skills. Its aim has always been to sate the senses as gloriously as possible. … ornament is not only a source of sensuous pleasure
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If the British are a nation of shopkeepers, Americans are a nation of shoppers.
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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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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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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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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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New York, thy name is irreverence and hyperbole. And grandeur.
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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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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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The style of Parisian architecture has been proved and refined by at least three centuries of academic dictates and highly developed taste.
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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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And infrastructure, on its already tenuous livability, overrides any aesthetic. … Art becomes worthless in a city brutalized by overdevelopment.
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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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No matter what an architect may be at home, he becomes a monumentalist when he comes to Washington.
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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 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.
ADA LOUISE HUXTABLE