Would that we loved the ancients more and copied them less 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. Okakura Kakuzō, The Book of Tea historytraditionarchitecture
Architecture equals structure 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. Akinori Abo, Kigumi House traditionstructureconstruction
The tacit wisdom of the body 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. Juhani Pallasmaa, The Eyes of the Skin: Architecture and the Senses Architecture Without Architects bodytraditionhistory
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
Several Short Sentences About Writing A Book by Verlyn Klinkenborg www.goodreads.com Here, in short, is what I want to tell you. Know what each sentence says, What it doesn't say, And what it implies. Of these, the hardest is knowing what each sentence actually says. Sonorisms VBoth models are completely uselessThe shape of the sentenceThe Anxiety of SequenceYou can get anywhere from anywhere+18 More Wittgenstein's MistressWrite SimplyThe most important thing you do writing
Sonorisms V Leave space between them for the things that words can't really say. To suggest more than the words seem to allow. Perhaps it renames the world. The Anxiety of Sequence. It was all change until the very last second. The debris of someone else's thinking. You'll never run out of noticings. Names that announce the whatness of the world. What were you trying to protect? You were protecting the memory. The tyranny of what exists. Do any of them sound first? It sets an echo in motion. Try writing for the reader in yourself. So call it "perfection enough". Toward the name of the world—yours to discover. euphony
Both models are completely useless In your head, you'll probably find two models for writing. One is the familiar model taught in high school and college—a matter of outlines and drafts and transitions and topic sentences and argument. The other model is its antithesis—the way poets and novelists are often thought to write. Words used to describe this second model include "genius", "inspiration", "flow", and "natural", sometimes even "organic". Both models are useless. I should qualify that sentence. Both models are completely useless. genius
The shape of the sentence You've been taught to overlook the character of the prose in front of you in order to get at its meaning. You overlook the shape of the sentence itself for the meaning it contains, Which means that while you were reading, All those millions of words passed by Without teaching you how to make sentences. meaningstructure
The Anxiety of Sequence Much of what's taught under the name of expository writing could be called "The Anxiety of Sequence." Its premise is this: To get where you're going, you have to begin in just the right place And take the proper path, Which depends on knowing where you plan to conclude. The Age of the Essay essays
You can get anywhere from anywhere And if you can get anywhere from anywhere, You can start anywhere And end anywhere. There is no single necessary order. progressending
Significant everywhere Writing isn't a conveyor belt bearing the reader to "the point" at the end of the piece, where the meaning will be revealed. Good writing is significant everywhere, Delightful everywhere. goodness
It was all change until the very last second Every work of literature is the result of thousands and thousands of decisions. Intricate, minute decisions—this word or that, here or where, now or later, again and again. It's the living tissue of a writer's choices, Not the fossil record of an ancient, inspired race. A concept of style decisionscraft
A renaming of the already named A true metaphor is a swift and violent twisting of language, A renaming of the already named. It's meant to expire in a sudden flash of light And to reveal—in that burst of illumination— A correspondence that must be literally accurate. metaphornames
The debris of someone else's thinking A cliché isn't just a familiar, overused saying. It's the debris of someone else's thinking. cliché
How each sentence got that way When the work is really complete, the writer knows how each sentence got that way. intent
This small internal quaver Pay attention now: No matter how much you know or learn about syntax, grammar, or rhetoric, This small internal quaver, this inner disturbance, Is the most useful evidence you'll ever get. Someday, you'll be able to articulate what causes it. But for now, what's important is to notice it. Noticing is always the goal. ...the faint vertigo caused by an ambiguity you can't quite detect. What matter is what it points to. Find out what's causing it and fix it Even if you're not sure how. Notes on the Synthesis of Form attention
The urge to be done "Flow" is often a synonym for ignorance and laziness. It's also a sign of haste, the urge to be done. productivity
Talking and writing Talking is natural. Writing is not. It may seem strange that the manual dexterity needed to hold a pencil—or use a keyboard—comes later than the lingual and mental dexterity needed to speak. But it does. speech
What were you trying to protect? As the piece evolves, you try to protect those original, effusive sentences. Only to realize, at last, that what you're writing won't come together until they've been removed or revised. What were you trying to protect? The memory of the excitement you felt when those words "came to you." (Where did they "come" from?) You were protecting the memory of the excitement of really concentrating, of paying close attention to your thoughts and, perhaps, your sentences, the excitement of feeling the galvanic link between language and thought. memory
The discoveries you make in the making Style is an expression of the interest you take in the making of every sentence. It emerges, almost without intent, from your engagement with each sentence. It's the discoveries you make in the making of the prose itself. Where ambiguity rules, there is no "style"—or anything else worth having. Pursue clarity instead. In the pursuit of clarity, style reveals itself. The idea grows as they workFour principlesExpressing ideas helps to form them styleclaritymaking
The virtue of already existing It can be overwhelming—the inertia of the paragraphs and pages you've already composed, the sentences you've already written, No matter how rough they are. Whether you love what you've written or not, Those sentences have the virtue of already existing, Which makes them better than sentences that don't exist. Or so it seems.
Composition and revision Revise at the point of composition. Compose at the point of revision. Think of composition and revision as the same thing. 104. Site Repair design
Squander your material Squander your material. Don't ration it, saving the best for last. You don't know what the best is. Or the last.
Do any of them sound first? Just try out some sentences. Lots of them. See how they sound. Do any of them sound first? You're holding an audition. Many sentences will try out. One gets the part.
When you're interested in what you're working on It's never hard to work when you're interested in what you're working on. But what if you hate what you're working on? It helps to examine the content of your loathing. What is it you hate? hatework
The work selects its audience Imagine a cellist playing one of Bach's solo suites. Does he consider his audience? (Did Bach, for that matter?) Does he play the suit differently to audiences Of different incomes and educations and social backgrounds? No. The work selects its audience.