It is not that we should disregard the creations of the past, but that we should try to assimilate them into our consciousness. Slavish conformity to traditions and formulas fetters the expression of individuality in architecture. We can but weep over the senseless imitations of European buildings which one beholds in modern Japan. We marvel why, among the most progressive Western nations, architecture should be so devoid of originality, so replete with repetitions of obsolete styles. Perhaps we are passing now through an age of democratization in art, while awaiting the rise of some princely master who shall establish a new dynasty. Would that we loved the ancients more and copied them less! It has been said that the Greeks were great because they never drew from the antique.
Architecture equals structure. Design is also important, but structure is the basis of architecture.
By taking the good aspects of both traditional and conventional construction methods, we assemble it securely...So the reason we lay out the marking lines, and carve by hand, is to utilize the good aspects of wood framing from the past when building contemporary wood-framed structures.
It is evident that the architecture of traditional cultures is also essentially connected with the tacit wisdom of the body, instead of being visually and conceptually dominated. Construction in traditional cultures is guided by the body in the same way that a bird shapes its nest by movements of its body.
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.
I sought to design [my first book] so as to make it self-exemplifying – that is, the physical object itself would reflect the intellectual principles advanced in the book. Publishers seemed appalled at the prospect that an author might govern design. Consequently I decided to self-publish the book.
...[Howard Gralla and I] spent the summer in his studio laying out the book, page by page. We integrated graphics into the text, sometimes in the middle of sentences, eliminating the usual segregation of text and image – one of the ideas Visual Display advocated.
My view on self-publishing was to go all out, to make the best and most elegant and wonderful book possible, without compromise. Otherwise, why do it? The next 4 books were financed by the previous books. I have never written a grant application.