Duelling Quotes: James Marston Fitch’s ‘Murder at the Modern’
…Thus, the virtual is not formal, but the infinite potential of the “real-abstract” to compose and sponsor new, emergent forms. This schema’s beauty lies in how severing experience from form…
…that adjudicated the tension between foreign and domestic usage. For example, Wittkower attributed the original use of three Palladian windows in what were then thought to be Kent’s designs for…
…is an “interval [and] transitive”.20 These qualities adhere to important dialectics within Allen’s articulation of architecture to find comfort with the tensions between “thought and reality, imagination and realisation, and…
…textured materials and space building); and (3) by proposing that the architect does not compose with colours (i.e. critiquing polychromy).17 Schindler zooms in on colour and texture within ‘classical’ and…
…for this mausoleum. Regarding the consequences of these constant changes, there has been research to date about social and spatial fragmentation.1 However, there has been little attention to the unusual…
…by ratifying its antithesis. As Fitch writes: And what could be more antithetical to the rational, pro-democratic commitments and icon-free, structurally responsive forms of modernism than the aristocratic-theocratic bias and…