The nineteenth century saw an increasing separation between the treatment of the surface and the structure of designed objects. Mass production and a mobile market economy encouraged the production of heavily ornamented yet cheaply fabricated products. Affordable manufacture allowed the burgeoning middle class to acquire “luxury” goods fashioned after objects formerly reserved for an elite.
Put together with odd bits of the useless Clarice, a survivors’ Clarice was taking shape, all huts and hovels, festering sewers, rabbit cages. And yet, almost nothing was lost of Clarice’s former splendor; it was all there, merely arranged in a different order, no less appropriate to the inhabitants’ needs than it had been before.
The idea of overlap, ambiguity, multiplicity of aspect, and the semilattice are not less orderly than the right tree, but more so. They represent a thicker, tougher, more subtle and more complex view of structure.
Most objects which we are accustomed to call beautiful, such as a painting or a tree, are single-purpose things, in which, through long development or the impress of one will, there is an intimate, visible linkage from fine detail to total structure.
The resistant virtues of the structure that we make depend on their form; it is through their form that they are stable and not because of an awkward accumulation of materials. There is nothing more noble and elegant from an intellectual viewpoint than this; resistance through form.
We can easily imagine from our own experience why fire might be used as a symbol of the life of a house and the family that lives there. The fire was certainly the most lifelike element of the house: it consumed food and left behind waste; it could grow and move seemingly by its own will; and it could exhaust itself and die. And most important it was warm, one of the most fundamental qualities that we associate with our own lives. When the fire dies, its remains become cold, just as the body becomes cold when a person dies. Drawing a parallel to the concept of the soul that animates the physical body of the person, the fire, then, is the animating spirit for the body of the house.