ABSTRACT
Acknowledging that architects make ethical decisions but in an improvised way, Vesely strives to place the phenomenon on a more secure basis. Beginning with the relation of praxis to ethos, the argument then traces the vicissitudes of prepon or decorum into the eighteenth and nineteenth centuries. There are two areas of potential fragmentation in the contemporary context: architecture's involvement with technology and its involvement with the visual arts. By exploring the potential reciprocities with certain aspects of Cubism and Surrealism, Vesely is able to develop the notion of the positive fragment, the cultivation of which can lead to an appreciation of our participation in reality as a whole.
