What do we mean by consistency? I know some people are going to say: "Hey! That's Dan Flavin's act. Why in the hell is Irwin doing a Dan Flavin? Why is he suddenly so inconsistent – fluorescent one day and Cor-Ten the next?" The key to all of this is that we have to examples what we mean by consistency. And here the critical question is: "what do we use to measure consistency with?" If you measure consistency in terms of material, or gesture, then I will be found inconsistent. But, in all of the recent pieces and proposals, if you go to the actual site and look at it, you will find that the solution is absolutely consistent on the grounds within which it responds to its environment. This in turn is consistent with my development of the implications implicit in non-object art. Robert Irwin, Robert Irwin: A Conditional Art consistency
What's suitable for each unique condition What of machines and prefabrication? How do they compare? Well, the machine has its limits. We, using handcrafted methods, do things that machines cannot do. Of course, it's not fast like a machine. And in complicated areas like here, things wouldn't go the same using a machine as it would by hand. We use numerous variations of all these connecting and splicing joints. Using a machine, [the wood joints] can all be made uniform, but really, we need to consider whether that's a good thing. It's better to make each mechanism and joint by considering what's suitable for each unique condition. Akinori Abo, Kigumi House Chopped and disfigured contextmachinesconsistency
Seven lamps Ruskin's Seven Lamps of Architecture provided seven guides, or 'lamps', for the troubled craftsman, guides for anyone who works directly on material things. These seven are: The lamp of sacrifice: The willingness to do something well for its own sake. The lamp of truth: The truth that 'breaks and rents continually'; Ruskin's embrace of difficulty, resistance, and ambiguity. The lamp of power: Tempered power, guided standards other than blind will. The lamp of beauty: Which for Ruskin is found more in the detail, the ornament—hand-sized beauty—than in the large design. The lamp of life: Life equating with struggle and energy, death with deadly perfection. The lamp of memory: The guidance provided by the time before machinery ruled. The lamp of obedience: Obedience to the example set by a master's practice rather than by his particular works; otherwise put, strive to be like Stradivari but do not seek to copy his particular violins. Richard Sennett, The Craftsman 125 Best Architecture Books