- Ultimately, all architectures we call great, let alone all those we call serious, are involved with some aspect of a single problem. It is this: How can we make in this world a significant place to be? (The original meaning of the word building is "to be.") How can we construct an enduring dwelling place, a shelter from the ordinary and the unbearable, a refuge for contemplation and invention, a precinct of poetry and order, a sanctuary for imagination, study, work and rest? How can we establish foundations---for a paradise regained? How can we structure the solid and the void of human existence, the visible and the invisible, make manifest the ardent will to form and the relentless demand to mean, and realize the presence of transcendent architectures that illumine the mind and move the heart, that uplift the eyes and stir the soul? How can we make of building art? How can we make of architecture the problem of being? How can we disclose the true form of the edifice of the world . . . through exquisite reflections of beauty and intelligence in inhabitable form? Architecture---reinforced and expanded by lessons learned from other disciplines and arts---presents limitless possibilities for research into the problem of significant form and significant space.
- The modern artist is the conscious artist. _Piet Mondrian |Sight/Is a museum of things seen . . . _Wallace Stevens |The time for thinkers has come. _Mary Baker Eddy
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- deep_SIGHT C R I T I Q U E
- P A I N T I N G & A R C H I T E C T U R E
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- Archetypal Void
- Presence of the Rectangle|
- PRESENCE OF MIND
- _3.25.02
- Why is there a "7" in your name?
- Madison Gray on the HILDNER VARIABLE
- JEF7REY: MOVE|MEANING
- _forthcoming
- What kind of architecture do you do?
- genre theory/sorting it out
- THE PROBLEM of CATEGORY
- _forthcoming
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- Solid Void Structures
- More lessons from Synthetic Cubism
- EMPTY|FULL
- 11.1.2002
- E.1027 House + Dante |Telescope House
- . . . THE WORLD BETWEEN WALLS
- A PURE REFLECTION
- 8.12.2001
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- "Girl in wicker chair" (1944) at the WCMA
- Milton AVERY
- AMPLITUDE
& ABSTRACTION
- _7.7.2001
- A fork in the road
- WARNING
- THE FIRST BREATH OF FIRE
- _1.1.2001
- _7.7.2001
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- Guggenheim BILBAO + Guggenheim NYC
- The Ontology of FORM
- WHALE STORY
- _9.21.2000
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- Laconic Review: Guggenheim NYC
- ROZANOVA
- GREEN STRIPE
- _9.13.2000
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- Above all expression:: Frank Gehry
- LIKE COLTRANE
- _9.12.2000
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- Turning a NEGATIVE into a POSITIVE
- In the Landscapes (and Walls) of Modern Art
- SIGNIFICANT SPACE
- _9.7.2000
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- OPTICAL ILLUMINANCE
- Significant RETINAL SPACE of Don KUNZ
- DEEP PAINT
- _9.4.2000
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- "Les Demoiselles d'Avignon"
- 6th WOMAN &TRANSFIGURATIVE Space
- 1907 | PICASSO LESSONS
- _5.21.2000
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- FigureFIELD
- Learning from Analytical & Synthetic Cubism
- TRANSFIGURING
- _5.14.2000
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- GAUDI, MIES, and MEIER
- Barcelona
- TRIALECTIONS
- _4.30.2000
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- DEFINITIONS: Not just SPACE and LIGHT
- The Substantiality of Architecture
- SUBSTANCE & SIGNIFICANCE
- _4.27.2000
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- In Memory of Colin Rowe
- LAWS OF THE MIND
- _11.5.1999
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- Bernard TSCHUMI at Columbia University
- LITERAL versus PHENOMENAL COLLAGE
- ROOK'S MOVE
- _9.9.1999
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- The UN-Private House_MoMA
- Searching for Bobby Fisher/Deep Blue
- KNIGHT MOVES
- _8.19.1999
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- Architecture New York
- What is FORMALISM?
- MOVE + MEANING1
- _July/August 1995
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- The Christian Science Monitor
- John Singer SARGENT
- RETINAL POWER
- _5.1.1989
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- The Christian Science Monitor
- de Kooning & Diebenkorn
- PAINTING IS PAINT
- _5.23.1988
- Grandmaster
- CHESS MOVES
- _forthcoming
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- D R A W I N G
S
- ALSO:
- PLASTIC LESSONS: Degas + Pissarro at the Clark Art Institute
- M O N D R I A N 1916: Only One
- MASS MoCA
- EDGE PRINCIPLES: the untold story at Villa Lante
- O T H E R A R T S & I N Q U I R I E S
- F I L M
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- P O E T R Y
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- S P I R I T U A L I T Y
- _forthcoming
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