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

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

Loretta promotes a more democratic workplace atmosphere than most other architectural offices. This may merely reflect prevalent employment practices in Scandinavia, but Loretta places a stronger emphasis on group participation in the design process than typical high-style firms.

— Martin Filler

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

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

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.

— Martin Filler

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

There is no sadder tale in the annals of architecture than the virtual disappearance of the defining architectural form of the Modern Movement - publicly sponsored housing.

— Martin Filler

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

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