In this way, large building projects of potentially major civic importance are delivered into the hands of competent but unimaginative firms. The assumption is: Anyone can do it. Just follow the guidelines.
This system is based upon the catastrophic misconception that architectural values can be objectively quantified. From this initial mistake, erroneous ideas accumulate: architecture is the production of images; discrimination among images is entirely a matter of taste; one person's taste is as good as another's; the most popular image (or as it usually works out, the least unpopular image) must be the best building.
But of course, architecture is not a matter of images. It is the relationship of visual and spatial perceptions to conceptual abstractions. Or as Frank Lloyd Wright once put it, ``Architecture is the scientific art of making structure express ideas.''
--``Don't Rebuild. Reimagine.'', The New York Times, September 8, 2002.
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Signal Tree
(Acadia)
But hush! the upland hath a sudden loss Of quiet!--Look, adown the dusk hill-side, A troop of Oxford hunters going home, As in old days, jovial and talking, ride! From hunting with the Berkshire hounds they come. Quick! let me fly, and cross Into yon farther field!--'Tis done; and see, Back'd by the sunset, which doth glorify The orange and pale violet evening-sky, Bare on its lonely ridge, the Tree! the Tree! I take the omen! Eve lets down her veil, The white fog creeps from bush to bush about, The west unflushes, the high stars grow bright, And in the scatter'd farms the lights come out. I cannot reach the signal-tree to-night, Yet, happy omen, hail! Hear it from thy broad lucent Arno-vale (For there thine earth forgetting eyelids keep The morningless and unawakening sleep Under the flowery oleanders pale), Hear it, O Thyrsis, still our tree is there!-- Ah, vain! These English fields, this upland dim, These brambles pale with mist engarlanded, That lone, sky-pointing tree, are not for him; To a boon southern country he is fled, And now in happier air, Wandering with the great Mother's train divine (And purer or more subtle soul than thee, I trow, the mighty Mother doth not see) Within a folding of the Apennine, -Matthew Arnold, Thyrsis: A Monody,1861 |
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Phantasies in the Mist
(Niagara)
And others came . . . Desires and Adorations, Winged Persuasions and veil'd Destinies, Splendours, and Glooms, and glimmering Incarnations Of hopes and fears, and twilight Phantasies; And Sorrow, with her family of Sighs, And Pleasure, blind with tears, led by the gleam Of her own dying smile instead of eyes, Came in slow pomp; the moving pomp might seem Like pageantry of mist on an autumnal stream. -Percy Bysshe Shelley, Adonais: An Elegy on the Death of John Keats, 1821 |
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White Sunrise
(North Cascades)
Soon will she lie like a white-frost sunrise. Yellow oats and brown wheat, barley pale as rye, Long since your sheaves have yielded to the thresher, Felt the girdle loosened, seen the tresses fly. -George Meredith, Love in the Valley, 1851 |
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Melancholy Grace
(North Cascades)
Smiles on past Misfortune's brow Soft Reflection's hand can trace; And o'er the cheek of Sorrow throw A melancholy grace; -Gray, Ode on the Pleasure Arising from Vicissitude, 1775 |
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Cloud City
(North Cascades)
Now sunk the sun; the closing hour of day Came onward, mantled o'er with sober gray; Nature in silence bid the world repose; When near the road a stately palace rose: There by the moon through ranks of trees they pass, Whose verdure crown'd their sloping sides of grass. -Thomas Parnell, The Hermit, 1722 I sift the snow on the mountains below, And their great pines groan aghast; And all the night 'tis my pillow white, While I sleep in the arms of the blast. -Percy Bysshe Shelley, The Cloud, 1820 |
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Stillness
(Lassen)
Lake Leman woos me with its crystal face, The mirror where the stars and mountains view The stillness of their aspect in each trace Its clear depth yields of their far height and hue: -Lord Byron, Childe Harold's Pilgrimage: Canto the Third, 1816 |