Faced with unmeasurables, people steer their way by magic. Before the invention of navigational instruments, a lady was carved on the prow of the boat to help sailors cross the ocean; and architects, grappling with the intangibles of design, select a guru whose work gives them personal help in areas where there are few rules to follow. The guru, as architectural father figure, is subject to intense hate and love; either way, the relationship is personal, it can only be a one-to-one affair. This accounts for the intensely ad hominem stance of some of ‘Venturi's' critics. If the attribution were correct the tone would be more even, as one cannot easily wax emotional over several people. I suspect, too, that for male architects the guru must be male. There can be no Mom and Pop gurus in architecture. The architectural prima donnas are all male.
Denise Scott BrownRelated topics
architecture attribution boat correct cross emotional father few follow gives guru grappling hate help lady male ocean prow stance suspect wax way work prima one-to-one RulesRelated quotes
Ikenobo Sen'o, a master of flower arranging, once said (the remark is to be found in his Sayings): "With a spray of flowers, a bit of water, one evokes the vastness of rivers and mountains." The Japanese garden too, of course symbolizes the vastness of nature. The Western garden tends to be symmetrical, the Japanese garden asymmetrical, and this is because the asymmetrical has the greater power to symbolize multiplicity and vastness. The asymmetry, of course, rests upon a balance imposed by delicate sensibilities. Nothing is more complicated, varied, attentive to detail, than the Japanese art of landscape gardening. Thus there is the form called the dry landscape, composed entirely of rocks, in which the arrangement of stones gives expression to mountains and rivers that are not present, and even suggests the waves of the great ocean breaking in upon cliffs.
Yasunari Kawabata
The tradition in Hinduism is that it is not open to any Hindu, whatever be the name and mental image of the Supreme Being he uses for his devotional exercises, to deny the existence of God that others worship. He can raise the name of his choice to that of the highest, but he can not deny the divinity or the truth of the God of other denominations. The fervor of his own piety just gives predominance to the name and form he gives for his own worship and contemplation, and he treats the other gods as deriving the divinity therefrom. This reduces all controversy to a devotional technique of concentration on a peculiar name and mental form or concrete symbol as representing the supreme being. It makes no difference in the contents of Vedanta to which all devotees equally subscribe... ‘just as all water raining from the skies goes to the ocean, worship of all gods go to Keshava.'
C. Rajagopalachari
On a related topic, let me say that I'm not much of a fan of object-oriented design. I've seen some beautiful stuff done with OO, and I've even done some OO stuff myself, but it's just one way to approach a problem. For some problems, it's an ideal way; for others, it's not such a good fit. [...] OO is great for problems where an interface applies naturally to a wide range of types, not so good for managing polymorphism (the machinations to get collections into OO languages are astounding to watch and can be hellish to work with), and remarkably ill-suited for network computing. That's why I reserve the right to match the language to the problem, and even - often - to coordinate software written in several languages towards solving a single problem. It's that last point - different languages for different subproblems - that sometimes seems lost to the OO crowd.
Rob Pike
There were two problems which had to be faced. One was spatial and the other methodological. In the first case I had to do something about relational painting, i. e. the balancing of the various parts of the painting with and against each other. The obvious answer was symmetry – make it the same all over. The question still remained, though, of how to do this in depth. A symmetrical image or configuration symmetrically placed on a open ground is not balanced out in the illusionistic space. The solution I arrived at, and there are probably quite a few, although I only know of one other, color density, forces illusionistic space out of the painting at constant intervals by using a regulated pattern. The remaining problem was simply to find a method of paint application which followed and complemented the design solution. This was done by using the house painters technique and tools.
Frank Stella
Contrary to what you may assume, I am not a pessimist but an indifferentist-that is, I don't make the mistake of thinking that the resultant of the natural forces surrounding and governing organic life will have any connexion with the wishes or tastes of any part of that organic life-process. Pessimists are just as illogical as optimists; insomuch as both envisage the aims of mankind as unified, and as having a direct relationship (either of frustration or of fulfilment) to the inevitable flow of terrestrial motivation and events. That is-both schools retain in a vestigial way the primitive concept of a conscious teleology-of a cosmos which gives a damn one way or the other about the especial wants and ultimate welfare of mosquitos, rats, lice, dogs, men, horses, pterodactyls, trees, fungi, dodos, or other forms of biological energy.
H. P. Lovecraft