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Martin Filler

The popular mythology of creative genius depends on beloved stereotypes of the artist in youth and old age: the misunderstood upstart who forces us to see the world afresh; and the revered sage who shows us depths of insight attainable only through a lifetime of hard-won experience.
— Martin Filler love
Although prefabrication has a long history - the ancient Romans shipped pre-cut stone columns, pediments, and other architectural elements to their colonies in North Africa, where the numbered parts were reassembled into temples - the idea took on a new impetus with the technological advances of the Industrial Revolution.
— Martin Filler art
Before the professionalization of architecture in the nineteenth century, it was standard for an aspiring mason or carpenter to begin his apprenticeship at fourteen and to become a master builder by his early twenties.
— Martin Filler teen
Renzo Piano and Richard Rogers's Centre Georges Pompidou of 1971-1977 - the true prototype of the modern museum as popular architectural spectacle - wound up costing so much more than planned that the French government solved the shortfall by cutting support for several regional museums.
— Martin Filler men
The most basic task of any museum must be the protection of works of cultural significance entrusted to its care for the edification and pleasure of future generations.
— Martin Filler work
Despite the persistent image of the architect as a heroic loner erecting monumental edifices through sheer force of will, the building art has always been a highly cooperative enterprise.
— Martin Filler art
Few developments central to the history of art have been so misrepresented or misunderstood as the brief, brave, glorious, doomed life of the Bauhaus - the epochally influential German art, architecture, crafts, and design school that was founded in Goethe's sleepy hometown of Weimar in 1919.
— Martin Filler life
One of the most persistent yet elusive dreams of the Modern Movement in architecture has been prefabrication: industrially made structures that can be assembled at a building site.
— Martin Filler dreams
The danger for any artist whose work is both recognizable and critically acclaimed is complacent repetition - the temptation to churn out easily identifiable, eagerly welcomed, and readily salable designs.
— Martin Filler art
The financial benefits of prefabrication have never been as large as its advocates predicted, for although some labor costs can be reduced by machine manufacturing, on-site assembly of any building still depends to some extent on the handwork of skilled craftsmen.
— Martin Filler work
After Lyndon Johnson's Great Society, the belief in decent housing as a political right or social obligation was supplanted in the U.S. by the notion that suitable shelter should be an act of charity.
— Martin Filler belief
Architectural kitsch is most common in the commercial pop vernacular - typified by the Big Duck of 1931 in Flanders, New York, a Long Island roadside poultry stand resembling a duck, which Venturi and Scott Brown made a cult object through their writings.
— Martin Filler writing
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 can certainly lead to desirable results.
— Martin Filler wisdom
Cost overruns are not uncommon in architecture, particularly for designs that depart from structural or technological norms, or demand a finer quality of execution than commercial schemes - conditions typical of buildings for cultural institutions. Budgets are exceeded for many reasons, not all of them within an architect's control.
— Martin Filler art
During the nineteenth century, the rapid emergence and proliferation of new manufacturing methods and building technologies led to the establishment of polytechnic schools that concentrated on the practicalities of engineering and construction rather than the niceties of stylistic correctness or adherence to established precedent.
— Martin Filler life
From the outset, MoMA followed the Bauhaus's strict prohibition against design that even hinted at the decorative, a prejudice that skewed the pioneering museum's view of Modernism for decades.
— Martin Filler prejudice
Masterpieces of art possess immense potential to advance a worldview that could help assuage the societal terrors posed by globalization, the most thoroughgoing socioeconomic upheaval since the Industrial Revolution, which has set off a pandemic of retrogressive nationalism, regional separatism, and religious extremism.
— Martin Filler art
The Frankfurt Museum of Decorative Arts is a handsome building, which takes its cues from the riverside Biedermeier villa next to it, and it is well-integrated into an overall scheme for a group of small museums.
— Martin Filler art
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 fanciful patterns. The entire route from street to office is invested with ceremony, dignity, and delight.
— Martin Filler pain
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.
— Martin Filler history
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.
— Martin Filler man
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 Battery Park City during the 1980s.
— Martin Filler truth
The work that launched Snohetta into the architectural big leagues was their Oslo Opera House, which will certainly rank among the firm's highlights whatever else they may do. Although this is by any measure a triumph of city planning, the building itself is not quite a masterpiece, though very fine indeed.
— Martin Filler work
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 revisionist assessments than about those who are being reassessed.
— Martin Filler art
When Oscar Niemeyer died on December 5, 2012, ten days before his 105th birthday, he was universally regarded as the very last of the twentieth century's major architectural masters, an astonishing survivor whose most famous accomplishment, Brasilia, was the climactic episode of utopian High Modern urbanism.
— Martin Filler men

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