"A society that has abolished every kind of adventure makes its own abolition the only possible adventure." — Guy Debord, The Society of the Spectacle (1967)
The official account, maintained by Solveig Brandt in her capacity as Canonical Steward of the Plinth and distributed as a laminated card at every entry point to The Plinth Pavilion, holds that Formgård was not built but resolved. In the beginning — the Card specifies no date, which the Archive of Resolved Forms annotates as 'a deliberate epistemological position' — there was undifferentiated aesthetic noise: mass production, visual clutter, the accumulated bad decisions of commercial civilization. The Shard materialized as a correction. The designed objects came first, perfect and final, and the city assembled itself around them the way a sentence assembles around a word it has been waiting for. 'Formgård,' the Card concludes, 'is what happens when form is taken seriously as a civic commitment.' The Foundationalist position holds that the oversized scale of the canonical objects is protective rather than dominating: the Plinth Pavilion's glass walls are not panoptic instruments but g...
From the lore of The Panopticon of Good Taste.