“It is clearly apparent that in building the best results should accrue in proportion as every element in the structure is fitted both to the function it has to perform and the materials of which it is made. It follows from this that disguise and complication are hindrances, both to good construction and good design, and as complication and disguise are expensive and wasteful, that the interests of good art and true economy run on parallel lines.”

Introduction
Small Houses: Their Economic Design and Construction (1922)

Adopted from Wikiquote. Last update June 3, 2021. History

Help us to complete the source, original and additional information

Do you have more details about the quote "It is clearly apparent that in building the best results should accrue in proportion as every element in the structure …" by Ernest Flagg?

Ernest Flagg65

American architect 1857–1947

Robert E. Machol (1917–1998) American systems engineer

Source: System Engineering (1957), p. 514; As cited in: Joseph E. Kasser (2010) " Seven systems engineering myths and the corresponding realities http://www.synergio.nl/media/59286/7_myths_of_se.pdf"

“The most economical way of obtaining good results is to apply the great, fundamental principles of art; and depend on them for beauty, rather than upon the use of either applied ornament or more expensive materials… much better results are likely to accrue from truth than falsehood, and from architectural [rather] than archaeological methods.”

Ernest Flagg (1857–1947) American architect

Introduction
Small Houses: Their Economic Design and Construction (1922)

“A man practicing Dharma, Artha and Kama enjoys happiness both in this world and in the world to come. The good perform these actions in which there is no fear as to what is to result from them in the next world, and in which there is no danger to their welfare. Any action which conduces to the practice of Dharma, Artha and Kama together, or of any two, or even one of them should be performed. But an action which conduces to the practice of one of them at the expense of the remaining two should not be performed.”

Vātsyāyana Indian logician

Source: The Kama Sutra of Vatsyayana: Translated From the Sanscrit in Seven Parts With Preface, Introduction and Concluding Remarks http://books.google.com/books?id=SbEZWRTwsToC&pg=PT27, Library of Alexandria, p. 27

“Too often in a modern building the work of art is an afterthought – a piece of decoration added to fill a space that is felt to be too empty. Ideally the work of art should be a focus round which the harmony of the whole building revolves – inseparable from the design, structurally coherent and aesthetically essential... He [the sculptor] will want to consider both external proportions and internal space volumes in relation to the size and style of sculpture that might be required – not merely the decorative function of sculpture... I am thinking of the didactic and symbolic functions of sculpture in Gothic architecture, inseparable from the architectural conception itself…”

Henry Moore (1898–1986) English artist

Quote of Moore, as cited by Unesco, International Conference of artists, Venice 1952; typescript, in HMF Library
1940 - 1955

“… There's a machine which is called History of Art, which is a structure. And artist fits in this only because he or she is needed for this structure. If for example the History of Art needs some parallel lines, there is an individual who makes parallel lines. And this individual fits into this machine which works by itself; it doesn't care about people or anything else, it just goes by itself.”

Alexander Melamid (1945) Russian artist

Quoted in: Francis Halsall, Systems of Art: Art, History and Systems Theory, (2008) p. 67.
The search for a people's art: painting by the numbers, 1994

“Either build functional houses and bridges or create pure art or both. Don't confuse one with the other. Such art is not pure constructive art, but merely an imitation of the machine.”

Naum Gabo (1890–1977) Russian sculptor

quote, 1919; as cited in: Ruth Latta (1948) Naum Gabo. Museum of Modern Art (New York, N.Y.), p. 18
Here Gabo publicly criticized Tatlin's design for the 'Monument to the Third International' (1919)
1918 - 1935