40 Quotes by Paul Goldberger

Right after 9/11 it looked as if the idea of a huge skyscraper might be considered obsolete. It came back, but I think that's more closely connected to the rise of Asian and Middle Eastern cities in the world economy (Dubai, Shanghai, Taipei, etc.) than anything else.

I think of what the experience is of going into the building, of spending time in it, and try to get a sense of what the building would be like to work in as well.

New York remains what it has always been : a city of ebb and flow, a city of constant shifts of population and economics, a city of virtually no rest. It is harsh, dirty, and dangerous, it is whimsical and fanciful, it is beautiful and soaring - it is not one or another of these things but all of them, all at once, and to fail to accept this paradox is to deny the reality of city existence.

It seems to me that the sad event of 9/11 has created a huge opportunity for the revitalization of lower Manhattan - new world class contemporary buildings, more open space and pedestrian connections, more sustainability, more culture and the rejuvenation of New York on the world stage again.

Buildings don't exist to be pinned, like brooches, on the front of bigger structures to which they bear only the most distant of relationships.

I think it's necessary to evaluate a skyscraper at multiple scales, since that's how we experience it: from right next to it on the street to from across the river, as well as at all kinds of points in between. It's important to think of it as an element in a larger skyline, but also as an element in an immediate streetscape.

By any reasonable standard, Riverside Drive would be considered the best street in New York. Where else, after all, are there such views-not of a narrow river, as there is across town, but of one of the noblest rivers in the United States.

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.

I try to do everything from thinking about big issues like how a building fits into the larger stream of architectural history to practical issues such as how it feels to navigate your way through its interior.