HERE IS ONE MORE FOR YOUR BOOK. COLORS, ODORS, FLAVORS AND SOUNDS DEFY GRAVITY, So architecture color does not qualify.
On May 15, 2009, at 9:57 AM, Frances Kelly wrote:
Frances to Luis and Armando and William on gravity... Allow me to cull the notions made by you all in some previous statements, and post them here as understood by me, for the purpose of inviting your correction. (1) The process and progress of architecture seemingly requires as its main procedure the manipulation and organization of space, which entails both the interior and exterior space of the project, as well as their negative and positive space. This empty stuff sensed as space and the use of space of course must adhere to the natural laws of gravity, because space can only be identified and defined by what really exists with it. If there is nothing in it or on it or around it, then presumably space does not exist. (2) The location and position and orientation and composition of parts in or on or around the space of the proposed architectural product must respect gravity in its actual presence; but may defy gravity in its virtual absence, if gravity is merely implied by the parts adhering with the space. (3) Even a pattern in the form of a grid with tiles on a plane is dependent on gravity, whether it is presented horizontally or diagonally or vertically, and either upside down or inside out or right side up, which dependence is due to the implication of gravity on the senses. The intention of the maker in presenting a pattern in a certain orientation, and the effect on the viewer when sensing this pattern, are both irrelevant to the determination of gravity, whether the positing of gravity is covertly implicit or overtly explicit. The actual determination of gravity and its experience will be real regardless of whether it is presented abstractly or represented concretely or even say derepresented discretely in the form of the pattern. (4) The deliberate change of orientation for the pattern will be impacted on by a sense of gravity, whether the gravity is signified implicitly or explicitly. The meaning of the object referred in the pattern will also be impacted by orientation, but the degree of impact will be dependent on the kind the sign originally is, be it an icon or index or symbol; and regardless of whether the interpreted content of the sign is abstract or concrete or discrete, and whether the referred object of the sign is merely possible or really actual or lawfully agreeable. An upside down image of an iconic tooth with its roots upward seems to defy gravity, but the same tooth is signified regardless, and may in any event be an upper or lower tooth. An upside down head of an indexic arrow seems to depend on gravity, because a different direction is signified. An upside down letter of a symbolic word seems to deplore gravity, because the word is difficult to code or read. In all instances, gravity will nonetheless have some impact, because that is the nature of humans on earth. (5) It seems that virtual or actual gravity will be with humans, even if they travel through heavenly weightless space in spaceships that were designed and fabricated and remained out there, where no spatial orientation is likely required in the architecture. Humans will still demand a sense of gravity, even when none may presumably be necessary. What the human bodily being needs in order to continue living in any environment however is real gravity that remains constant and concrete, and merely anchoring the feet of persons to the floor of ships will not do it. This natural fact of gravity is why lengthy space travel and residence for humans will probably be impossible.
