The walls, of the same granite as the rock, continued its vertical lines upward; the wide, projecting terraces of concrete, silver as the sea, followed the line of the waves, of the straight horizon.
The sky was growing dark and luminous as blue-green glass; the buildings looked like clouds condensed on the glass, gray-blue clouds frozen for an instant in straight angles and vertical shafts, with the sunset caught in the spires….
It seemed to lift the earth, and its few vertical shafts pulled the sky down.
It was a huge, vertical crate, standing by his desk.
That was the only abnormal sensation: the sensation of rising, as if her car were speeding vertically.
They stood on a lonely, rocky stretch of shore, three miles beyond an unfashionable little town; they munched sandwiches and peanuts, and they looked at a cliff rising in broken ledges from the ground to end in a straight, brutal, naked drop over the sea, a vertical shaft of rock forming a cross with the long, pale horizontal of the sea.
While architects cursed, wondering how to make a twenty-story building look like an old brick mansion, while they used every horizontal device available in order to cheat it of its height, shrink it down to tradition, hide the shame of its steel, make it small, safe and ancient—Henry Cameron designed skyscrapers in straight, vertical lines, flaunting their steel and height.
The short shirt sleeves left his arms in the light; vertical ridges of shadow stressed the tensed muscles of his arms and the tendons of his neck.
When she saw black vertical strips with dots of light filling the glass of the car’s side window, she wondered what had happened to the glass.
Crawling up in elevators through vertical cracks around you.
She looked at the vertical threads of light that were the Cord Building, she raised her fingers off the parapet, just enough to touch the place of its unseen form on the distant sky.
If we take the horizontal as the one-dimensional, the vertical as the two-dimensional, the diagonal as the three-dimensional, and the interpenetration of spaces as the fourth-dimensional—architecture being a fourth-dimensional art—we can see quite simply that this building is homaloidal, or—in the language of the layman—flat.
The house was a shape of horizontal rectangles rising toward a slashing vertical projection; a group of diminishing setbacks, each a separate room, its size and form making the successive steps in a series of interlocking floor lines.
He saw the stone and plaster of the city as a substance that had soaked up light and was throwing it back, row upon row of flat, vertical planes grilled with dots of windows, each plane a reflector, rose-colored, gold and purple—and jagged streaks of smoke-blue running among them, giving them shape, angles and distance.
…strings of balconies added, made of metal stripes painted a violent blue; comer windows without purpose; an angle cut off for a useless door, with a round metal awning supported by a pole, like a haberdashery in the Broadway district; three vertical bands of brick, leading from nowhere to nowhere; the general style of what the profession called "Bronx Modern"; a panel of bas-relief over the main entrance, representing a mass of muscle which could be discerned as either three or four…
There are no more uses of "vertical" in the book.
Show samples from other sources
The architect used long vertical lines to pull the eye upward.
On a small ladder, a good-looking sandy-haired boy is painting a vertical sign that will say: "Doc’s."
Arthur Laurents and Stephen Sondheim -- Westside Story