A Quote by Ada Louise Huxtable
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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The tall building, concentrating man in one place more densely than ever before, similarly concentrates the dilemma of our public architecture at the end of the twentieth century: whether the new forms made possible by technology are doomed by the low calculations of modern patrons and their architects.
A bold architectural statement turns a public building into a landmark, but it is in the details where the architect becomes the real storyteller.
The humanities and science are not in inherent conflict but have become separated in the twentieth century. Now their essential unity must be re-emphasized, so that twentieth-century multiplicity may become twentieth-century unity.
It is as if, to every period of history, there corresponded a privileged age and a particular division of human life: "youth" is the privileged age of the seventeenth century, childhood of the nineteenth, adolescence of the twentieth.
Like the tail fins on fifties American cars or the parabolic shapes of Populuxe furniture, 'West Side Story' incarnates the dream of momentum in the golden age of the twentieth century.
Wright's building made it socially and culturally acceptable for an architect to design a highly expressive, intensely personal museum. In this sense almost every museum of our time is a child of the Guggenheim.
There can be little question that the tall building presents one of the most difficult challenges to the architect.
The thriller is the cardinal twentieth-century form. All it, like the twentieth century, wants to know is: Who's Guilty?
Since the middle of the twentieth century, our understanding of the American past has been revolutionized, in no small part because of our altered conceptions of the place of race in the nation's history.
The nineteenth century planted the words which the twentieth century ripened into the atrocities of Stalin and Hitler. There is hardly an atrocity committed in the twentieth century that was not foreshadowed or even advocated by some noble man of words in the nineteenth.
How strange it is that we of the present day are constantly praising that past age which our fathers abused, and as constantly abusing that present age, which our children will praise.
A building does not have to be an important work of architecture to become a first-rate landmark. Landmarks are not created by architects. They are fashioned by those who encounter them after they are built. The essential feature of a landmark is not its design, but the place it holds in a city's memory. Compared to the place it occupies in social history, a landmark's artistic qualities are incidental.
Ireland is a peculiar society in the sense that it was a nineteenth century society up to about 1970 and then it almost bypassed the twentieth century.
Every Man is the Architect of his own Fortunes, but the Neighbours superintend the Construction.
Film is more than the twentieth-century art. It's another part of the twentieth-century mind. It's the world seen from inside. We've come to a certain point in the history of film. If a thing can be filmed, the film is implied in the thing itself. This is where we are. The twentieth century is on film. You have to ask yourself if there's anything about us more important than the fact that we're constantly on film, constantly watching ourselves.
To be an architect has been a life-long dream. Little did I know when asked at the age of 14 'what do you want to do when you grow up?' I said I wanted to be an architect. After 50 years I am still learning all what that means. Working together with so many people has been enormously gratifying. Being an architect means being a member of a fantastic team.
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