voussoirs: ISLAMIC PATTERNS

Tuesday 17 October 2023

ISLAMIC PATTERNS - QUOTES & NOTES

NOTE:

These quotes and notes are to be read in association with ISLAMIC PATTERNS – COSMIC VISIONS: see - https://voussoirs.blogspot.com/2023/10/islamic-patterns-cosmic-visions.html

Koran quotes:

“Your deity of worship is only One God. There is no deity of worship except Him, the Most Compassionate to all, the Especially Compassionate to believers.” — 2:163

“All praise is for God, the Lord of the two worlds; The Most Compassionate to all, The Especially Compassionate to believers; King of the Day of Judgment. You Alone we worship, You Alone we ask for help; guide us along the straight path; the path of those You have bestowed with favors—not of those who earned Your Anger or those who went astray.” — 1:1-7

“Your deity of worship is only One God. There is no deity of worship except Him, the Most Compassionate to all, the Especially Compassionate to believers.” — 2:163

“When My servant asks you [O Muhammad] about Me, indeed I am near. I Respond to the call of every caller when they call upon Me. So let them also respond to Me and believe in Me, so they may be guided.” — 2:186 ^

“God! There is no deity except Him, the One who sustains Himself and sustains all of His creation. Neither drowsiness nor sleep overtakes Him. To Him belongs everything in the heavens and the earth. Who could possibly intercede with Him without His Permission? He Knows their past and their future but no one can grasp any of His Knowledge except as He Wills. His Throne’s Footstool encompasses the heavens and the earth and the preservation of both does not tire Him, for He is the Most High, Most Great.” — 2:255

“Say [O Muhammad]: if you sincerely love God, then follow me. God will love you and forgive you your sins. God is Forgiving and Merciful.” — 3:31

“Say, (O Muhammad): ‘Call upon God or call upon the Most Compassionate—whichever name you use, He has the Most Beautiful Names.’ Do not recite your salah prayer too loudly or silently, but seek a middle way. And say, ‘All praise is for God, Who has never had any offspring; nor does He have a partner in governing His kingdom; nor is He weak, needing a protector. And revere Him immensely.’ ”— 17:110-111

“This is what God has willed! There is no power except with God!” — 18:39

“God is the Light of the heavens and the earth. His light is like a niche in which there is a lamp, the lamp is in a crystal, the crystal is like a shining star, lit from the oil of a blessed olive tree, located neither to the east nor the west, whose oil would almost glow, even without being touched by fire. Light upon light! God guides whoever He wills to His light. And God sets forth parables for humanity. For God has complete knowledge of all things.” — 24:35

“He is God—there is no deity worthy of worship except Him: Knower of the seen and unseen. He is the Most Compassionate to all, Especially Compassionate to believers.”

“He is God—there is no deity worthy of worship except Him: the King, the Most Holy, the Perfect, the Source of Serenity, the Watcher over everything, the Almighty, the Supreme in Might, the Majestic. Glorified is God far above what they associate with Him in worship! He is God: the Creator, the Inventor, the Shaper. He has the Most Beautiful Names. Whatever is in the heavens and the earth constantly glorifies Him. And He is the Most Powerful, Most Wise.” — 59:22-24

“Say, (O Muhammad): ‘He is God—One, United; God—the Fulfiller of all your needs. He has no offspring, nor was He born. And there is none comparable to Him.’ ” — 112:1-4

NOTE:

God in Islam

https://en.wikipedia.org/wiki/God_in_Islam

God in Islam (Arabic: ٱللَّٰه, romanized: Allāh, contraction of ٱلْإِلَٰه al-’Ilāh, lit. "the God" is seen as the eternal creator and sustainer of the universe, who will eventually resurrect all humans. God is conceived as a perfect, singular, immortal, omnipotent, and omniscient god, completely infinite in all of his attributes. Islam further emphasizes that God is most-merciful.

According to Islamic theology, God has no physical body or gender, although he is always referred to with masculine grammatical articles, and there is nothing else like him in any way whatsoever. Therefore, Islam rejects the doctrine of the incarnation and the notion of a personal god as anthropomorphic, because it is seen as demeaning to the transcendence of God. The Quran prescribes the fundamental transcendental criterion in the following verse: “[He is] the Creator of the heavens and the earth. He has made for you from yourselves, mates, and among the cattle, mates; He multiplies you thereby. There is nothing whatever like unto Him, and He is the One that hears and sees [all things]” (42:11). Therefore, Islam strictly and categorically rejects all forms of anthropomorphism and anthropopathism of the concept of God.

The Islamic concept of God emphasizes that he is absolutely pure and free from association with other beings, which means attributing the powers and qualities of God to his creation, and vice versa. In Islam, God is never portrayed in any image. The Quran specifically forbade ascribing partners to share his singular sovereignty, as he is considered to be the absolute one without a second, indivisible, and incomparable being, who is similar to nothing, and nothing is comparable to him. Thus, God is absolutely transcendent, unique and utterly other than anything in or of the world as to be beyond all forms of human thought and expression. The briefest and the most comprehensive description of God in Islam is found in Surat al-Ikhlas.

According to mainstream Muslim theologians, God is described as Qadim [ar] (“ancient”), having no first, without beginning or end; absolute, not limited by time or place or circumstance, nor is subject to any decree so as to be determined by any precise limits or set times, but is the First and the Last. He is not a formed body, nor a substance circumscribed with limits or determined by measure; neither does he resemble bodies as they are capable of being measured or divided. Neither do substances exist in him; neither is he an accident, nor do accidents exist in him. Neither is he like to anything that exists, nor is anything like to him; nor is he determinate in quantity, nor comprehended by bounds, nor circumscribed by differences of situation, nor contained in the heavens, and transcends spatial and temporal bounds, and remains beyond the bounds of human comprehension and perceptions.

NOTE A

The broader meaning and relevance of the patterns is suggested generally in the book, scattered as various statements, rather than being defined in any specific, analytically descriptive manner: #

The title talks of a ‘Cosmological Approach.’

The starting ‘point’ is ‘a symbol for unity and source.’

The foreword speaks of ‘the blinding majesty of the One.’

The introduction notes ‘Islam’s concentration on geometric patterns draws attention away from the representational world to one of pure forms, poised tensions and dynamic equilibrium, giving structural insight into the workings of the inner self and their reflection in the universe.’

and

‘the purity of essential relations that lie beneath the visual surface of the world. The significance of the Islamic standpoint is that, in the efforts to trace origins in creation, the direction is not backwards but inwards.’

One can glean a specific relevance in the subject that offers a broad sense of deep meaning to the patterns without saying how, what, or in what manner. It is a complex, complicated matter that is difficult to articulate. It engages many other studies in matters Islamic.

On symbolism in Islamic Patterns:

p.24

Symbols can exhaust verbal explanation but verbal explanation can in no way exhaust symbols - symbols are directed toward undifferentiated unity, while verbal explanations involve never less than two - the donor and the recipient. These three basic shapes (the square, triangle, and hexagon), are used to symbolise the square of earth or materiality, the triangle of human consciousness, and the hexagon (or circle) of Heaven.

Note: Aldo van Eyck in Team 10 Primer, writes about the Dogon basket, noting how it is a symbol of the universe with its square base and circular top – earth and heaven.

p.28

the square, the symbol of physical experience and the physical world and totally dependent for its construction on the circle.

p.30

the triangle . . . By tradition symbolic of human consciousness and the principle of harmony, the triangle is the geometrical expression of two entities and their reconciling relationship (the third factor). Drawing D demonstrates the interaction of the upward-pointing triangle, and the downward-pointing triangle, traditionally related to the upward quest of human consciousness, and the download of archetypal ideas, respectively.

Note: Here one can envisage the star of David.

p.34

From the integrated symbolism of the shapes as co-operative and individual Cosmological symbols we return to the shapes as three most elemental divisions of surface area. The practical and useful level of operation of archetypal expressions in no way diminishes or reduces their efficacy as timeless symbols. . . . the first three basic shapes. But it is on this very simple law of ‘threeness’ that the foundations of Islamic geometric patterning are rooted - practically, symbolically, philosophically and aesthetically.

Note: One recalls here George L. Hersey’s book, The Lost Meaning of Classical Architecture: Speculations on Ornament from Vitruvius to Venturi (1988), in which he develops his theory of multiple sets of three in the detailing of Classical architecture.+

p.42

Magic squares are conspicuous instances of the intrinsic harmony of number and so they will serve as an interpreter of the cosmic order that dominates all existence. . . . the undoubted Divine origin of mathematics . . . the qualitative aspect of number is given greater significance, and therefore metaphysical effectiveness, than the merely quantitative. . . . the science of numbers at the ‘root’ of all the sciences . . . the foundation of wisdom, the source of knowledge and pillar of meaning.

p.55

Certain patterns of this sort, (on a grid of squares), have as their starting point the arithmetical summing already demonstrated, (where collections of numbered squares add up to the same number).

p.57

the square, triangle, hexagon . . . are all, in the regular form we are concerned with, dependent on and sub-qualities of the embracing circle. . . . This pattern of triangles, squares and central hexagon . . . is a reminder of the archetypal importance of the integration of the three shapes within another, as the expression of unification.

. . .

The overriding principle for Islam is the unity of existence and therefore of the universe. This unity has always an inner and outer aspect - a hidden as well as a manifest aspect.

p.59

One must constantly remember that this view has nothing whatsoever to do with finding quaint symbolic analogies with natural phenomena, but rather is concerned with a viewpoint that saw the outer or manifest as a result of the inner intellect which is its divine source.

p.60

Reflection or symmetry . . . is one way of appreciating the mystery of multiplicity in relation to unity.

POSTSCRIPT

One discovers that Critchlow delves into things Cosmological in a complete but somewhat schematic manner. It is a complex subject that has been written about by other, more specialised minds that Critchlow references. One is left somewhat outside matters, feeling like an observer, being told about the symbolism and the wondrously interesting meaning of numbers and their relationships as pieces of information.

One can understand and appreciate all of these things, and can see how the figures can generate the shapes that grow and develop with symmetries and intriguing mirroring, and even admire the process with some amazed astonishment, but there is something missing. The patterns have no immediate connection to meaning in feeling; just in fact. One senses a schizophrenia here, a great void that one is told is filled by these marvellous patterns; enriched. We are told that the inherent symbolism rooted in the interweaving patterns is necessarily experienced, or sensed, as the ordinary complexity of appearance, even if one is not aware of these things.

One can understand this, but wonders at the tie between necessity and reality; the power of the symbol as an esoteric and exoteric element. One is left asking: Is the engagement with the pattern somewhat similar is some way to a lived love and its sensing of meaning of spiritual matters? How can that great search for engagement in these matters be helped by the patterns. Do the patterns, their astonishing richness and beauty, merely suggest the wonders of the spirit in the body?

One is left grasping at a hope for understanding, knowing that these patterns will be taken by the modern era as mere pretty decoration. How can the spirit be manifest? It seems that this, as we all know, is a personal, cosmic matter that is alien to modern, self-centred thought that seeks selfish self-expression as an ideal. One is left pondering the patterns, hoping for things to be otherwise. Maybe the geometry is the only certain way these things can be touched without destroying them? The great danger is that this abstract link might be used to justify modern art.

p.60

Here we find once again the pre-eminence of geometry in the manifestation of the corporeal world from Universal Nature, Soul, and the First Intellect. It is here also that we can appreciate the profoundly esoteric way in which apparently ‘decorative’ adornment of buildings in the form of geometric patterns reveals in the guise of symmetry the very laws of possibility in the manifest realm.

For more on symbolism, see Abū Bakr Sirāj ad-Dīn, (Martin Lings), The Book of Certainty, The Islamic Texts Society, Cambridge, 1992. It is a book referenced by Critchlow.

THE PUBLISHER’S BLURB

A practical source of inspiration for artists and designers and an invaluable study for anyone with an interest in sacred art

. . .

Description

For centuries the nature and meaning of Islamic art has been misunderstood in the West, being regarded as no more than decoration. But in fact the abstract art of Islam represents the sophisticated development of a supra-naturalistic tradition, since the portrayal of human and animal forms has always been discouraged by the Prophet Muhammad, so as to avoid idolatry. Hence, among the world’s great artistic traditions, Islamic art has maintained its singular integrity and inner content with the least diversion from its aim: the affirmation of unity as expressed in diversity.

The Pythagorean/Platonic doctrines are easily recognizable in the body of Islamic geometric art, as the wisdom of this practice was exalted by Socrates, in Plato’s Republic dialogue (527), when he specifically gave the reason for practising geometry. Its practice rekindled the inner organ (or eye of wisdom) by which alone we can see the truth. The geometrical patterns of Islamic art reveal to the eye of the sensitive onlooker the intrinsic cosmological laws affecting all Creation. The primary function of these patterns is to lead the mind from the literal and mundane world towards the underlying permanent reality.

The numerous sequential drawings show how the art of Islam is inseparable from the science of mathematics. Thus, we can see clearly how an Earth-centred – ‘common-sense’ – view of the cosmos gives renewed signficance (sic) to the number patterns produced by the orbits of the planets, correlating the cosmos as experienced by man with the patterns created in Islamic art, and thereby throwing new light on the perennial symbolic significance of number. The mathematical tessellations inherent in space-filling patterns are revealed as an essential practical and philosophical basis for the creation of each completed work of art – whether a tile, a carpet, a wall or an entire building – and thus affirm the underlying essential unity of all things.

https://thamesandhudson.com.au/product/islamic-patterns-an-analytical-and-cosmological-approach/

'guided': c.f. the idea of a pattern to life’s paths: might one see this as 'the way' ?

25 December 23

Also:

Diana Darke, Stealing From The Saracens How Islamic Architecture Shaped Europe, C. Hurst & Co. London, 2020.

p.34 The trefoil arch was the favourite adaptation of the pointed arch all across Europe because it represented the Holy Trinity. Start looking and you’ll see it in virtually every Gothic church in Britain. Recurring themes of triples occur throughout Christian architecture – the triple nave, the triple window.

No comments:

ON GARDENING

I am strongly of the opinion that the possession of a quantity of plants, however good the plants may be themselves and however ample their number, does not make a garden; it only makes a collection. Having got the plants, the great thing is to use them with careful selection and definite intention. Merely having them, or having them planted unassorted in garden spaces, is only like having a box of paints from the best colourman, or, to go one step further, it is like having portions of these paints set out upon a palette. This does not constitute a picture; and it seems to me that the duty we owe our gardens and to our own bettering in our gardens is so to use plants that they shall form beautiful pictures; that, while delighting our eyes, they should be always training those eyes to a more exulted criticism; to a state of mind and artistic conscience that will not tolerate bad or careless combination or any sort of misuse of plants, but in which it becomes a point of honour to be always striving for the best. Gertrude Jekyll Colour in the Flower Garden Mitchell Beazley London 1998 – Introduction (first published 1908)

MORE IS LESS

Significantly, in the era of the ‘information revolution’, the same process is now affecting disinformation: whereas in the past it was lack of information and censorship which characterized the denial of democracy by the totalitarian state, the opposite is now the case. Disinformation is achieved by flooding TV viewers with information, with apparently contradictory data. The truth of the facts is censured by over-information, as we have seen from the press and television discussing the Balkans. The globalitarian state, built out of economic-strategic alliances, is no longer old ‘Anastasia’ with her scissors: it is Babel. Now more is less. And in some cases, less than nothing. Deliberate manipulation and unintentional accidents have become indistinguishable.

Paul Virilio Strategy of Deception Verso 2007 p.48

(first published Editions Galilee 1999)

‘That which precedes the event is not necessarily its cause,’ claims the wisdom of the ancients. p.76

As Negroponte has rightly remarked, with the ‘liberation of information’ on the Web, what is most lacking is meaning or, in other words, a context into which Internet users could put the facts and hence distinguish truth from falsehood. On the Web, where, as everyone knows, the terrorist temptation is constant and where depredations of hackers are committed with impunity in a strange state of legal indeterminacy, the difference between (true) information and (false) deception fades a little more each day. In entering the looking-glass worlds of television and home computers, we are in the end left in the position of Kinglake’s old ‘English soldiery’. As they saw it,

insofar as the battlefield presented itself to the bare eyesight of men, it had no entirety, no length, no breadth, no size, no shape and was made up of nothing . . . In such conditions, each separate gathering . . . went on fighting its own little battle in happy and advantageous ignorance of the general state of the action; nay, even very often in ignorance of the fact that any great conflict was raging.

As Albert Camus asserted: ‘When we are all guilty, that will be true democracy.’ p.78

ENCOUNTERING CONRAD

Ryszard Kapuściński The Other Verso London 2018, p. 92

At the end of his book, Kapuściński asks whether, in our encounters with others in the future:

Will we jointly wish to refer to what – as Conrad puts it - ‘speaks to our capacity for delight and wonder, to the sense of mystery surrounding our lives; to our sense of pity, and beauty, and pain; to the latent feeling of fellowship with all creation – and to the subtle but invincible conviction of solidarity that knits together the loneliness of innumerable hearts: to the solidarity of dreams, in joy, in sorrow, in aspirations, in illusions, in hope, in fear, which binds men to each other, which binds together all humanity – the dead to the living and the living to the unborn.’?*

* J. Conrad, Preface to The Nigger of the ‘Narcissus’: A Tale of the Sea, New York: W.W.Norton, 1979.

Architecture stands in between of all of these circumstances of encounter, but how does it explain itself beyond being a bespoke ‘grand design’ of a potential genius?

ON THE CULTURE OF OTHERS

Herodotus . . . wanted to know them because he understood that to know ourselves we have to know Others, who act as a mirror in which we see ourselves reflected; he knew that to understand ourselves better we have to understand Others, to compare ourselves with them, to measure ourselves against them. As a citizen of the world, he did not believe that we should isolate ourselves from Others, or slam the gates in their faces. Xenophobia, Herodotus implied, is a sickness of people who are scared, suffering an inferiority complex, terrified by the prospect of seeing themselves in the mirror of the culture of Others.

Ryszard Kapuściński The Other Verso London 2018, p. 19

CLEVER PEOPLE SELF-DOUBT

I last met him when Philomena came out back in 2013. Back then, Coogan was a bracing, combative interviewee. He saw every question as a potential ambush and moved to thwart any perceived journalistic angle. Today, though, he seems more comfortable with the process, more at ease with himself. It used to be that he felt he always had to have his guard up. Now he accepts that he can sometimes afford to let it drop. He’s middle aged and a mass of insecurity and contradictions. He suspects that, on balance, that’s not such a terrible thing to be.

“And actually I think acknowledging your own fallibility makes you a better artist and a better person,” he says in a rush. “It’s fairly obvious to me that the real wisdom lies in seeing people’s failings and trying to understand them. Because the alternative is that very childlike, Donald Trump thing of believing that admitting any weakness is fatal. What was it Bukowski said? All the clever people are full of self-doubt and all the stupid people are very confident. That’s the era we’re living in now. That’s the era I don’t want to be a part of. So all you can do is try to go about things differently. Do interesting work and don’t be a cunt.”

Coogan gulps for breath. His eyes widen and then he rocks with laughter. “There you go, that’s my big artistic statement,” he says. “Do interesting work and don’t be a cunt. Took me the best part of an hour. Got there in the end.”

https://www.theguardian.com/film/2019/jan/04/steve-coogan-interview-stan-and-ollie

HILLS

The hills bespeak a healing power and closeness to unseen help now lost in the security of modern welfare. Those who befriend the silent peaks in a lifetime's work know well their embracing strength. (p.91)

For only once is it given to man to lie in the arms of the eternal forces which give all matter form. (p.98)

Iain R Thomson Isolation Shepherd Birlinn, Edinburgh, 2007

I will lift up mine eyes unto the hills, from whence cometh my help.

My help cometh from the Lord, which made heaven and earth.

Psalm 121 King James Version (KJV)

SPAN

17 August 2012

This blog began as a co-operative concept. While the idea and the stimulus was generated through discussion, the blog has turned out to be an individual enterprise. SPAN stands for ‘Spence and’ in the context of others. As a word, it fitted in nicely with the idea of voussoirs - parts and pieces, complete with keystones, that could ‘span’ the gaps in understanding and communication. The word SPAN also allowed for a shared input into a blog.

Spence Jamieson is an architect and the author of these articles. The blogs show the scope of his interests.

THE IDEA

chapters and verses as architectural commentary:

the wedge to isolate, array and shape ideas; the keystone to highlight core, supporting issues. voussoirs is a concept to start an architectural discussion to span the large gap in the debate on things architectural; a bridging of the void in architectural issues by exploring considered bits and pieces. The state of the profession today is highlighted by silence and self. It is introvert and protective. Educational centres remain isolated within their own constructs, being run primarily as businesses. They put very little back into the community. They indulge themselves in their own interests and exclude contrary and different ideas and ideals. They constantly avoid any challenge on concepts or strategies that might change the plotted course. Rarely does comment ever come from this academic world into the public or any arena. Very few publications help direct the public interest. Rarely do newspapers grasp the issues and explore them. One aspect may be given space in the popular press, but architectural debates and concerns are rarely given attention. The professional institutes are doing much the same as the educational institutions. Private practice is doing likewise, offering, if anything, only its own pushy propaganda to the public. Yet there is a discussion and debate in these silences that needs a larger and more open platform. Discussion is alive and well amongst a few in at least one curry house, but the debate needs to be a broadened. voussoirs is the place for this discussion. It is a site for ideas, comment, articles, and critiques on things architectural and associated issues. It is here that matters can be aired and ideas discussed and debated without fear of the neglect and disdain that institutions and private groups and publishers give to open speaking and differing ideas.

There can be no true understanding of any idea if discussion and debate are curtailed in favour of a preferred position.

ON COMMUNICATION

. . . there has been a growing feeling of concern to solve what is now commonly called “the problem of communication.” But if one observes efforts to solve this problem, he will notice that different groups who are trying to do this are not actually able to listen to each other. As a result, the very attempt to improve communication leads frequently to yet more confusion, and the consequent sense of frustration inclines people ever further toward aggression and violence, rather than toward mutual understanding and trust.

David Bohm On Dialogue Routledge, Oxon, 1996 (2004) p.2

ON ART & METHOD

Even in relationships with inanimate objects and with nature in general, something very like communication is involved. Consider, for example, the work of an artist. Can it be properly said that the artist is expressing himself, i.e., literally “pushing outward” something that is already formed inside him? Such a description is not in fact generally accurate or adequate. Rather, what usually happens is that the first thing the artist does is only similar in certain ways to what he may have in mind. As in a conversation between two people, he sees the similarity and the difference, and from this perception something further emerges in his next action. Thus, something new is continually created that is common to the artist and the material on which he is working.

David Bohm On Dialogue Routledge, Oxon, 1996 (2004) p.4

THE NECESSITY OF THE INCOMPLETE

The early 50's and 60's is a period that is gaining interest in architectural ideas. Perhaps this is why Princeton chose to republish The Tao of Architecture. It is a beautiful little book that discusses the implications of traditional wisdom in architecture. Given the astonishing lack of direction in current architectural theory, the publication is very timely.

Amos Ih Tiao Chang, The Tao of Architecture, Princeton University Press, Princeton, 1956, reprinted 2017.

p.26

Laotzu's idea of formation is heavily concerned with emptiness or non-existence. To him who regards nothing as persistent, what is essentially important in things is the possibility of becoming something, not the opportunity of remaining as something confronting deterioration. Consequently, meaningful incompletion is taken as the most desirable state of tangible being.

p.22

. . . the full meaning of existence is beyond the power of any manifestation. What appears tangible, architectural or natural, is only a means to suggest that which is lacking in appearance and existing in man's intangible understanding and aesthetic feeling.

LIVING IN IMPERMANENCE

Maybe it is a good thing for us to keep a few dreams of a house that we shall live in later, always later, so much later, in fact, that we shall not have time to achieve it. For a house that was final, one that stood in symmetrical relation to the house we were born in, would lead to thoughts – serious, sad thoughts – and not to dreams. It is better to live in a state of impermanence than in one of finality.

Gaston Bachelard The Poetics of Space

see: THE NECESSITY OF THE INCOMPLETE in the sidebar

THE REAL AND THE IMAGINARY

I prefer, by far, real islands to imaginary islands, just as I prefer prime documents to novelistic remakes. That's because the real is richer than the imagination. The real demands investigation and is an invitation to sensitive knowledge, whereas the imaginary is more often than not just a collection of stereotypes, a soup of clichés offering an infantile kind of satisfaction. Then, a relationship to the real and its resistance requires changes in thought, in ways of being, in ways of saying, it leads to a transformation of the self. Whereas imagination is nothing but compensation. There's even something horribly autistic about sitting in one spot and spinning out invention by the yard. How much more interesting an open and poetic process involving contemplation, study, movement, meditation and composition.

Kenneth White Across The Territories Travels from Orkney to Rangiroa Polygon Edinburgh 2004 p.86

VISION, CIVILIZATION & SPIRIT

The architect who combines in his being the powers of vision, of imagination, of intellect, of sympathy with human need and the power to interpret them in a language vernacular and time - - - is he who shall create poems in stone.

When you look on one of your contemporary 'good copies' of historical remains, ask yourself the question: Not what style, but what civilization is this building? And the absurdity, vulgarity, anachronism and solecism of the modern structure will be revealed to you in a most startling fashion.

It cannot for a moment be doubted that an art work to be alive, to awaken us to life, to inspire us sooner or later with its purpose, must indeed be animate with a soul, must have been breathed upon by the spirit and must breathe in turn that spirit.

Louis Sullivan

AN UNCHANGING PROFESSION

ARCHITECTURAL PRACTICE

. . . no one can relieve (the architect) from the need to rely on his own discretion, for that discretion is linked to a responsibility which belongs to no one but (the architect). It is the exercise of discretion hampered by considerations of cost, of risk, of exact justice, of conflicting interests, of uncertainty as to facts, of misunderstandings and of diverse individualities and dishonest or incapable agents, which is the chief care and preoccupation of architectural practice. To design a building, to draw and specify every part of it, and to direct its construction and see it completed with no other anxieties and dilemmas than belong to the exercise of those duties, is unknown.

H.B.Creswell The Honeywood Settlement Faber and Faber Limited London 1967 (fourth edition: first edition 1930 Architectural Press) p.128

MENDING WALL

Something there is that doesn't love a wall,
That sends the frozen-ground-swell under it,
And spills the upper boulders in the sun,
And makes gaps even two can pass abreast.
The work of hunters is another thing:
I have come after them and made repair
Where they have left not one stone on a stone,
But they would have the rabbit out of hiding,
To please the yelping dogs. The gaps I mean,
No one has seen them made or heard them made,
But at spring mending-time we find them there.
I let my neighbor know beyond the hill;
And on a day we meet to walk the line
And set the wall between us once again.
We keep the wall between us as we go.
To each the boulders that have fallen to each.
And some are loaves and some so nearly balls
We have to use a spell to make them balance:
'Stay where you are until our backs are turned!'
We wear our fingers rough with handling them.
Oh, just another kind of out-door game,
One on a side. It comes to little more:
There where it is we do not need the wall:
He is all pine and I am apple orchard.
My apple trees will never get across
And eat the cones under his pines, I tell him.
He only says, 'Good fences make good neighbors'.
Spring is the mischief in me, and I wonder
If I could put a notion in his head:
'Why do they make good neighbors? Isn't it
Where there are cows?
But here there are no cows.
Before I built a wall I'd ask to know
What I was walling in or walling out,
And to whom I was like to give offence.
Something there is that doesn't love a wall,
That wants it down.' I could say 'Elves' to him,
But it's not elves exactly, and I'd rather
He said it for himself. I see him there
Bringing a stone grasped firmly by the top
In each hand, like an old-stone savage armed.
He moves in darkness as it seems to me~
Not of woods only and the shade of trees.
He will not go behind his father's saying,
And he likes having thought of it so well
He says again, "Good fences make good neighbors."

Robert Frost

CATHEDRALS and SYMBOLISM

Everything is the symbolical representation of an idea. p.28

The same artists, who had to follow a strict rule when treating the history of God, could use all of their imagination when treating the ornamental: whence the blossoming of the grotesque and the original. p.38

In those days religion, drama, and art had the same aim and sought to provoke the same thoughts. They did not pretend to amuse the people; they endeavoured to teach them. p.51

This way of thinking and reasoning takes sometimes a very subtle turn. p.53

Hélène Fouré The French Cathedrals Their Symbolic Significance Bruce Humphries Inc. Publishers, Boston, 1931

THE COMPLIMENT & THE CRITIC 2

ON DEMOLISHING BUILDINGS

Nothing appears to me much more wonderful, than the remorseless way in which the educated ignorance, even of the present day, will sweep away an ancient monument, if its preservation be not absolutely consistent with immediate convenience or economy. Putting aside all antiquarian considerations, and all artistical ones, I wish that people would only consider the steps, and the weight of the following very simple argument. You allow that it is wrong to waste time, that is, your own time; but then it must be still more wrong to waste other people’s; for you have some right to your own time, but none to their’s. Well, then, if it is thus wrong to waste the time of the living, it must be still more wrong to waste the time of the dead; for the living can redeem their time, the dead cannot. But you waste the best of the time of the dead when you destroy the works they have left you; for those works they gave the best of their time, intending them for immortality.

John Ruskin Lectures on Architecture George Routledge & Sons Limited, London p.109

THE COMPLIMENT & THE CRITIC 1

How to avoid insult

But how much of nature have you in your Greek buildings? I will show you, taking for an example the best you have lately built; and, in doing so, I trust that nothing that I say will be thought to have any personal purpose, and that the architect of the building in question will forgive me; for it is just because it is a good example of the style that I think it more fair to use it for an example. If the building were a bad one of the kind, it would not be a fair instance; and I hope, therefore, that in speaking of the institution on the mound, just in progress, I shall be understood as meaning rather a compliment to its architect than otherwise. It is not his fault that we force him to build in the Greek manner.

John Ruskin Lectures on Architecture and Painting George Routledge & Sons Limited; New York: F.P.Dutton & CO - p.64-65

ON EDUCATION

'. . those who are responsible for giving instruction in the theory of architecture should be practising architects. The warning is necessary because, strange though it may seem, English schools of architecture to-day tend to be run by men who either do not practise at all, or whose practices are for them a very subsidiary spare-time occupation. Often a teaching appointment is a means by which a clever student avoids the humiliation of entering an office as a junior assistant, thus depriving himself of the only opportunity he will ever have of learning something of the practical side of his profession from the bottom upwards. There can be no doubt whatever that the teaching of theory has suffered severely as a result of this habit: and this leads me to the conclusion that no man should be permitted to teach until he is recognized by his Faculty as a Master of Theory and Practice. In other words, he should be not only a practising architect but also, what is unfortunately a much rarer specimen, a good architect.'

W.A. Eden, The Process of Architectural Tradition, Macmillian & Co. Ltd, London, 1942, p.p. 86-87

ETHICS

Thus Pugin laid the foundation stones of that strange system which dominates the nineteenth-century art criticism and is immortalised in the Seven Lamps of Architecture: the value of a building depends on the moral worth of its creator; and a building has a moral value independent of, and more important than, its esthetic value. We must not consider this emphasis on morality peculiarly Victorian. Whenever esthetic standards are lost, ethical standards rush in to fill the vacuum; for the interest in esthetics dwindles and vanishes, but the interest in ethics is eternal.

Kenneth Clark The Gothic Revival - An Essay in the History of Taste, (1^st edition Constable 1928); third edition John Murray 1962, reprinted 1974, p.149.

MODERNITY

The everyday is covered by a surface: that of modernity. News stories and the turbulent affectations of art, fashion, and event veil without ever eradicating the everyday blahs. Images, the cinema and television divert the everyday by at times offering up to its own spectacle, or sometimes the spectacle of the distinctly noneveryday; violence, death, catastrophe, the lives of kings and stars – those who we are led to believe defy everydayness. Modernity and everydayness constitute a deep structure that a critical analysis can work to uncover.

Henri Lefebvre, The Everyday and Everydayness, in Stephen Harris and Deborah Berke, Architecture of the Everyday, Princeton Architectural Press, New York, 1997, p.37.

NAMING

The simplest act of substitution is to put the name of a maker in the place of his or her work, which amounts to a paraphrase in itself. . . . All paraphrase sets aside the original: To put the name in place of the painting is to remove it from immediate consciousness; to narrate the life of an individual is an act profoundly different from looking into a painting and one that cannot be conducted simultaneously with it. To substitute a temporal narrative, already present in a name, for the physical work of art is to give up those features of the thing that were transient and unrepeatable, bound to a moment that is irrevocably ended; the unique insistence is, for the moment at least, sacrificed on the altar of continuity.

Thomas Crow, The Intelligence of Art, The University of North Carolina Press, 1999, p.1.

ON BRANDING

Branding is now the art of getting people to think what something might be rather than what it necessarily is. It's about the manipulation of the virtual reality in which so many live. The manipulators include anyone with an interest in what we might think of them - not just big companies with products to sell but political parties with votes to win, design gurus with clients to attract - anyone, in other words, acting in some kind of market. They all have an interest in controlling their appearance to make us believe it is the reality.

John Humphrys Beyond Words How Language Reveals The Way We Live Now Hodder and Stoughton. Great Britain 2006, p. 86-87

see:

http://voussoirs.blogspot.com.au/2015/10/faking-provenance-misuse-of-meaning.html

PRECONCEPTION

Leone Huntsman Sand in Our Souls The Beach in Australian History Melbourne University Press 2001, p.16:

Thus first impressions were filtered through existing preconceptions, starkly revealed in Sir Joseph Banks's description of the people seen from Captain James Cook's Endeavour when it first touched on the Australian continent in 1770:

In the morn we . . . [discerned] 5 people who appeared through our glasses to be enormously black: so far did the prejudices which we had built on Dampier's account influence us that we fancied we could see their Colour when we could scarce distinguish whether or not they were men.

Here Banks refers to William Dampier's unfavourable accounts of the West Australian aboriginal people in published accounts of his landings in 1688 and 1699, and reveals his own awareness of the extent to which perception was influenced by expectation.

see: http://voussoirs.blogspot.com.au/2014/04/seeing-what-we-believe-idyllic-visions.html

THE MUSE - GETTING IT RIGHT

"It can be in the morning, any old time, I wake up with an idea and it starts following you around.

"You go, 'Ah that's good' because you know when it's going to work, it's going to be fruitful.

"Other times you'll get the edge of an idea and maybe it fades away or there's just no way it can be made to serve, you know?

"Then you just, it takes its time and you work on it and if necessary you work on it more than once. I'm known to work on it two or three times before you get it right."

Les Murray

http://www.abc.net.au/news/2015-10-02/les-murray-latest-volume-reflects-on-bunyah/6816714

http://www.lesmurray.org/

JARGON

The world seems to find it necessary to use more and more jargon in general reporting and conversation. It is especially noticed in accounts and discussions on the arts. The ABC TV arts programme presented on 7 January 2017 at 6:15pm had more jargon than usual; indeed, had more unusual expressions than previously encountered, ones that had not been heard before:

"unpicking the tapestry" of one's life;

and

looking at "the fan deck of what you do."

These reminded one of other popular fashionable expressions:

“to unpack an issue,” meaning to analyse it in some detail;

and

“to segue,” meaning to shift to a new topic or activity.

This last term is a favourite of radio announcers. The Italian word is often misspelt as ‘segway’ because of the similar phonetic sounding that is more commonly understood as Segway, the brand of a human transporter.

The parallel is interesting, as the idea of being ‘transported’ is common to both words, but it seems to hold little interest to the radio voices that appear just too cleverly happy with the use of this different, interesting expression.

Tuesday 17 October 2023

ISLAMIC PATTERNS - QUOTES & NOTES

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