A Quote by Joseph Rykwert
If you look at the entrance halls of the skyscrapers of the 1920s and 1930s, they are very welcoming. They are public spaces with enormous amounts of display and marble and so on. They were havens off the street.
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I don't want sunbursts and marble halls. I just want YOU. Sunbursts and marble halls may be all very well, but there is more 'scope for imagination' without them. And as for the waiting, that doesn't matter. We'll just be happy, waiting and working for each other—and dreaming. Oh, dreams will be very sweet now.
Arsenal have class. I remember when I was at Spurs, the Arsenal players would arrive for matches in their navy blazers with the gold gun emblem sewn into their pockets and grey slacks. We couldn’t match their ground with that beautiful main entrance, marble halls and spiral staircase. Even in 1961 when we won the Double, we were never as big a club as Arsenal.
America's skyscrapers were not built by public funds nor for a public purpose: they were built by the energy, initiative and wealth of private individuals for personal profit. And, instead of impoverishing the people, these skyscrapers, as they rose higher and higher, kept raising the people's standard of living - including the inhabitants of the slums.
Redistribution of wealth would require enormous amounts of investment. The only time an elite has accepted this has been during crises, such as in America in the 1930s under Roosevelt.
The labor movement had been pretty much killed in the 1920s, almost destroyed. It revived in the 1930s and made a huge difference. By the late 1930s the business world was already trying to find ways to beat it back.
White House staff spends enormous amounts of time planning a president's every move so that his public persona reflects the mood of the public.
The 1920s and 1930s were a period of sensational productivity growth: new products were springing up all over the place, and most of those new products and new methods were developed by people who started their own companies.
Voting in particular is an embarrassment, being a public display of weak character and low intelligence. Let us face the truth: Democracy, like spitting in public or the Roman games, is the proper activity of the lower intellectual and moral classes. It amounts to collusion in one's own suckering.
I've always been into the music of the 1920s and 1930s.
I think it's true we look forward to enormous amounts of information, but I think we would be better off if we thought about the kinds of wisdom and thoughtfulness that we need in order to handle the amount of information ahead.
[The Internet] is a series of tubes. And if you don't understand, those tubes can be filled and if they are filled, when you put your message in, it gets in line and it's going to be delayed by anyone that puts into that tube enormous amounts of material, enormous amounts of material.
The designers [of the 1930s] were populists, you see; they were trying to give the public what it wanted. What the public wanted was the future.
It's great that New York has large spaces for art. But the enormous immaculate box has become a dated, even oppressive place. Many of these spaces were designed for sprawling installations, large paintings, and the Relational Aesthetics work of the past fifteen years.
[Donald Trump] is so unpredictable that foreigners are going to look around and say "boy, we've got to head for the safe havens." And one of the safe havens is Treasurys and [another is] the dollar.
I think there was a freedom in the 1920s and 1930s: a certain liberty and evolution of women.
But the plans were on display…” “On display? I eventually had to go down to the cellar to find them.” “That’s the display department.” “With a flashlight.” “Ah, well, the lights had probably gone.” “So had the stairs.” “But look, you found the notice, didn’t you?” “Yes,” said Arthur, “yes I did. It was on display in the bottom of a locked filing cabinet stuck in a disused lavatory with a sign on the door saying ‘Beware of the Leopard.
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