Waiting is a large part of living. Great, passive, negative chunks of our time are consumed by waiting, from birth to death.
ADA LOUISE HUXTABLEDistinctions 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.
More Ada Louise Huxtable Quotes
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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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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 skyscraper is the point where art and the city meet.
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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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And infrastructure, on its already tenuous livability, overrides any aesthetic. … Art becomes worthless in a city brutalized by overdevelopment.
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Every generation tailors history to its taste.
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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 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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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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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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Surrogate experience and surrogate environments have become the American way of life.
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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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In New York, the impact of these concentrated superskyscrapers on street scale and sunlight, on the city’s aniquated support systems, circulation
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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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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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