Ada Louise Huxtable Quotes

Because it is a national landmark, there is only one way to judge the Kennedy Center - against the established standard of progressive and innovative excellence in architectural design that this country is known and admired for internationally. Unfortunately, the Kennedy Center not only does not achieve this standard of innovative excellence; it also did not seek it. The architect opted for something ambiguously called 'timelessness' and produced meaninglessness. It is to the Washington manner born. Too bad, since there is so much of it.

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. That turns the Jersey wasteland into a pretty classy dump.

An excellent job with a dubious undertaking, which is like saying it would be great if it wasn't awful.

Nothing was more up-to-date when it was built, or is more obsolete today, than the railroad station.

The New York Hilton is laid out with a competence that would make a computer blush.

If the British are a nation of shopkeepers, Americans are a nation of shoppers.

Surrogate experience and surrogate environments have become the American way of life. 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 ...

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.

Postmodernism is a freewheeling, unfettered, and unapologetic pursuit of style.

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. The skyscraper is the point where art and the city meet.

Only a Californian would have observed that it is becoming increasingly difficult to tell the real fake from the fake fake.

Clutter in its highest and most organized form is called collecting.

Who's afraid of the big, bad buildings? Everyone, because there are so many things about gigantism that we just don't know. 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.

Every age cuts and pastes history to suit its own purposes; art always has an ax to grind.

Washington is an endless series of mock palaces clearly built for clerks.

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.

A disaster where marble has been substituted for imagination.

In New York, the impact of these concentrated superskyscrapers on street scale and sunlight, on the city's aniquated support systems, circulation, and infrastructure, on its already tenuous livability, overrides any aesthetic ... Art becomes worthless in a city brutalized by overdevelopment.

One of the most basic human instincts is the need to decorate. Nothing is exempt - the body, the objects one uses, from intimate to monumental, and all personal and ceremonial space. It is an instinct that responds ... to some deep inner urge that has been variously described as the horror of a vacuum and the need to put one's imprint on at least one small segment of the world.

Today, when so much seems to conspire to reduce life and feeling to the most deprived and demeaning bottom line, 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. 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.

The building is a national tragedy - a cross between a concrete candy box and a marble sarcophagus in which the art of architecture lies buried.

Waiting is a large part of living. Great, passive, negative chunks of our time are consumed by waiting, from birth to death. 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.

When it is good, this is a city of fantastic strength, sophistication and beauty. It is like no other city in time or place. Visitors and even natives rarely use the words urban character or environmental style, but that is what they are reacting to with awe in the presence of massed, concentrated, steel, stone, power and life.

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. 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. 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

Symbol and metaphor are as much a part of the architectural vocabulary as stone and steel.

All autonomous agencies and authorities, sooner or later, turn into self-perpetuating strongholds of conventional thought and practice.

Real serious waiting is done in waiting rooms, and what they all have in common is their purpose, or purposelessness, 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 ...