In praise of pastiche An Essay by Samuel Hughes www.worksinprogress.co So: it is perfectly true that contemporary traditional architecture tends to be structurally dishonest. But traditional architecture has always tended to be structurally dishonest. So if this is what makes contemporary traditional architecture pastiche, then most traditional architecture has been pastiche since the faux timbering of the Parthenon. Contemporary traditional architects have most of the great builders of our history as their companions in guilt. architecturetraditionmaterial
Against the survival of the prettiest An Essay by Samuel Hughes www.worksinprogress.co What has emerged here is that although survivorship bias probably does contribute to that to some extent, it is not the main explanation: premodern buildings may on average have been a bit less beautiful than those that have survived, but they still seem to have been ugly far less often than recent buildings are. The survivorship theory sought to explain the apparent rise of ugliness in terms of a bias in the sample of buildings we are observing. There is another kind of bias theory, which seeks to explain it in terms of a bias in the observer, saying for instance that every generation is disposed to find recent buildings uglier than older ones, and that this is why recent buildings seem so to us. This is a complex and interesting idea, which I am not going to assess on this occasion. Suppose, though, that our eyes are to be trusted. If this is so, strange and eerie truths rise before us: that ugly buildings were once rare, that the ‘uglification of the world’ is real and that it is happening all around us. urbanismarchitecturebeauty
The Japanese Perspective An Essay from The Beauty of Everyday Things by Yanagi Sōetsu Generally speaking, the Western perception of art has its roots in Greece. For a long time its goal was perfection, which is particularly noticeable in Greek sculpture. This was in keeping with Western scientific thinking; there are no painters like Andrea Mantegna in the East. I am tempted to call such art ‘the art of even numbers’. In contrast to this, what the Japanese eye sought was the beauty of imperfection, which I would call ‘the art of odd numbers’. No other country has pursued the art of imperfection as eagerly as Japan. The true meaning of teaOne receives with an empty handOnly when it has ceased to be a pattern The beauty of odd numbers imperfections
The true meaning of tea There is no true deformation that does not follow the laws of necessity. In later years, when deformation came to be consciously created, when the rejection of perfection became a matter of deliberate manipulation, the true meaning of tea began to be lost. To put it in somewhat contradictory terms, true tea existed only before the advent of the tea ceremony. After the coming of tea, when deformation came to be consciously sought, common everyday beauty disappeared and unnatural manipulation began. food
One receives with an empty hand Intuition means to see immediately, directly. Considered as a form of activity, the seeing eye and the seen object are one, not two. One is embedded in the other. People who know with the intellect before seeing with the eyes cannot be said to be truly seeing. With intuition, time is not a factor. It takes place immediately, so there is no hesitation. It is instantaneous. Since there is no hesitation, intuition doesn’t harbour doubt. It is accompanied by conviction. Seeing and believing are close brothers. seeingintuition
Only when it has ceased to be a pattern Here I would like to append three lines in praise of muji: A pattern that is not a pattern is a true pattern. Create patterns until they are no longer patterns. The true pattern is a patternless pattern. When creating a pattern, one’s heart must also be muji. A pattern must be followed through until it is no longer a pattern. It is a true pattern only when it has ceased to be a pattern. zenpatterns