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Aalto, then, adapts the order to the circumstantial exception symbolized by the diagonal. So does Kahn in the examples given, although in the early schemes for the capitol at Dacca an extreme rigidity predominates, despite the huge size and complexity of the project. Le Corbusier juxtaposes the exceptional diagonal. Mies excludes it. Wright hides it or surrenders his whole order to it: the exception becomes the rule.
Robert Venturi, Complexity and Contradiction in Architecture (1966), p. 59.

The consistent spatial order of the Piazza S. Marco, for example, is not without its violent contradictions in scale, rhythm, and textures, not to mention the varying heights and styles of the surrounding buildings.
Robert Venturi, Complexity and Contradiction in Architecture (1966), p. 59.

Is there not a similar validity to the vitality of Times Square in which the jarring inconsistencies of buildings and billboards are contained within the consistent order of the space itself?
Robert Venturi, Complexity and Contradiction in Architecture (1966), p. 59.

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