TABLE OF CONTENTS

PRINT March 1979

Charles Simonds' Emblematic Architecture

“LET US SUPPOSE,” WROTE George Kubler, “that the idea of art can be expanded to embrace the whole range of man-made things, including all tools and writing in addition to the useless, beautiful, poetic things of the world. By this view the universe of man-made things simply coincides with the history of art.”1 Kubler’s remark, made in 1961, begins a well-known book in which objects and ideas, artifacts and “mental culture,” tools and expression are united under the common rubric of form. The Shape of Time proposed to align these divided and divisive terms as the elements of a temporal morphology. By this means the plural traces of time might be interrelated and revealed, despite their differences, as relations in an emerging form—as visual objects composed “under the guidance of connected ideas developed in temporal sequence.”2 And as a vision of metamorphosis through time it provides, I

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