All architecture, classical or not, must have some sense of order, and order is much harder to achieve without the straight lines and right angles that have dominated the building art from time immemorial.

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.

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.

Always beware an unsigned architectural design.

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.

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.

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.