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Always beware an unsigned architectural design.

The truth be told, the World Trade Center was neither a very good work of architecture nor a very successful piece of urbanism. Its shortcomings were somewhat mitigated by the westward and southward expansion of the World Financial Center and...

Before World War II, Modernist architects sometimes had to resort to custom fabrication or outright fakery to achieve the machine imagery advocated by the Bauhaus after its initial, Expressionist, phase. Stucco masqueraded as reinforced concrete; rivets were used for decoration.

We take from the art of the past what we need. The variable posthumous reputations of even the greatest artists and the unpredictable revivals of interest in even the most obscure ones tend to reveal more about those who make...

One of the stated goals of the postmodern movement in architecture was a greater sensitivity to the people who live in or use newly designed buildings.

Architecture was the last of the major professions to devise a formal 'cursus honorum' before its practice could be undertaken.

Any set of decisions about design is inevitably influenced by cultural prejudice, no matter how intent an architect might be to avoid it.

As with many other folk beliefs, 'feng-shui' undoubtedly incorporates some scientifically correct observation or received wisdom based on direct experience of natural phenomena; but it needs to be dealt with skeptically as a credible system of thought. Some feng-shui prescriptions...

Avant-garde architects have never been able to depend on the support of the establishment, since the customary patrons of this most conservative and slowly moving art form have historically been resistant to innovation and experiment.

During the modern period, the vanguard architect has usually relied on small residential jobs both to supply a steady income and to serve as 'sketches' for ideas that are often later translated to the larger scale of public commissions.

The skyscraper style first advocated by Louis Sullivan - a tower of strongly vertical character with clear definitions among base, shaft, and crown - has remained remarkably consistent throughout the history of this building type.

There can be little question that the tall building presents one of the most difficult challenges to the architect.

The magnificent lobby of the Chrysler Building - faced with rare marbles, aglitter with decorative metalwork, and surmounted by a ceiling painted with a totemic image of the tower itself - leads to elevator cabs inlaid with exotic woods in...

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...

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