By Robert McCarter, Frank Lloyd Wright
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This very significant text concerns the visual experience of some artistic forms, like painting and sculpture that, by definition, stimulate the aesthetic experience and cause pleasure: … Aristotle said: If teaching is pleasant and likewise the fact, for humankind, of being admirable and admired, then to make someone imagine and to imitate are equally pleasant because of their similarity with teaching; and this as well as imitation by painting, sculpture and all the other acts through which one seeks to imitate the primary models—I mean existing things—not the acts through which one imitates things that do not exist.
25 2 The Aesthetics of the Solomonic Parable in the Qur’an The eye perceives the outer and the surface of things, but not their inner essences; moreover, it perceives only their shapes and their forms, not their real nature. 2 It rests on a study of the aesthetics to be found in sura al-Naml (Qur’an 27:15–44) which describes the story of the visit of the Queen of Sheba to Solomon, the prophet-king. In the final episode of the story, Solomon invites the queen to enter his palace, the floor of which is made of glass or crystal.
Obviously, such a visual isomorphism is not an accident, nor does it proceed at random but results from a conscious act, being an integral part of the conception and the conceptualisation of the architectural device. 23 More accurately, the manifest intention in the aesthetic system of the ˚ar˙ is to sharpen the close similarity between glass and water which serves the rhetorical purpose of the story. In order to fulfil this project, the watery theme has been selected as a formal model for building the artefact, the physical analogy being both the formal evidence of this generative process (taking water as a model) and the manifestation of the intention (making the artefact look like water).
Architect by Robert McCarter, Frank Lloyd Wright