‘Reluctantly, he knew that he despised his fellow residents for the way in which they fitted so willingly into their appointed slots in the apartment building, for their over-developed sense of responsibility, and lack of flamboyance.
Above all, he looked down on them for their good taste. The building was a monument to good taste, to the well-designed kitchen, to sophisticated utensils and fabrics, to elegant and never ostentatious furnishings – in short, to that whole aesthetic sensibility which these well-educated professional people had inherited from all the schools of industrial design, all the award-winning schemes of interior decoration institutionalised by the last quarter of the twentieth century. Royal detested this orthodoxy of the intelligent. Visiting his neighbours’ apartments, he would find himself physically repelled by the contours of an award-winning coffee-pot, by the well-modulated color schemes, by the good taste and intelligence that, Midas-like, had transformed everything in these apartments into an ideal marriage of function and design. In a sense, these people were the vanguard of a well-to-do and well-educated proletariat of the future.” —J. Ballard - High Rise