venessian
Distinguished Member
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- Jan 23, 2011
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I honestly have no idea at all what you are talking about up there. Yes architecture is my field (neither here nor there really in this context); nonetheless I still cannot make any sense of what you were trying to get across.It's a different level of consumption and purpose. To make an analogy in your field, whilst most people today would prefer a nice Renaissance Revival pastiche, it is the Gehry train crashes that will make it to the history and coffee table books and be referred to as art, Roger Scruton notwithstanding*. This is not mind you to say that the art world can be devoid of classicism, it's just that the classic space is already taken and novelty has to be mined on the boundaries. If you want a prime example in the watch world look up Arnold Putra on Instagram.
I'm aware my analogy is imperfect: where does one fit Foster + Partners? I guess you can do something more mainstream if you are yourself so established that the projects bring the meaning not through novelty but through their global identity, history and context (Reichstag) or once-in-a-generation scale (Millau). But this does not explain Santiago Calatrava.
* a long time ago I talked to the founding partner of a civil engineering firm, firmly in the Scruton camp, who pretended not to understand why a professional engineer would willingly work at a place like Arup when they could be lovingly crafting marble spiral staircases. He had to pay the bills so I think the 9th floor of their office was dedicated to skyscrapers and other "incomprehensible" projects. He drew an analogy with Beethoven 5 being built with just a few motives, but as a contemporary music composing and playing musician who hadn't yet read Scruton and his ilk, I couldn't help but think about how innovative and shocking Beethoven was for his time.
I find the engraved Rolex hideous, as I did the 14-shades-of-blue 575M I saw. An ugly destruction of a nice watch, and an enormous waste of money from someone who clearly has mounds of it to waste. And yet, still: chacun à son déchets, period, end of story.
That's all, nothing more complicated than that, and certainly nothing to connect with such immense generalizations regarding some "statement on architecture". Perhaps something was lost in translation? Or you were trying to state something else entirely?