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.

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

Architecture traditionally has been the slowest of art forms. It was not unusual for great cathedrals to take centuries to complete, with stylistic changes from Romanesque to Gothic or Renaissance to Baroque as common as the addition of chapels or spires. But because the function remained the same, the form could be flexible and its growth organic.

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.

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.

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.

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.