All right. Time to talk about "From Bauhaus to Our House". I meant to say something during the discussion, but all of my points were said already...and I didn't think of anything to add on before I had to go to music.
I'll jot down the main points:
-I've never, seriously, read a book about architecture before. Last year, I had this pocket guide to architecture last year (which I lost....twice... >:( It has my name in it, though) but I mostly used that for reference on buildings around the world.
-I liked the book, and how it was written, but I disagreed with some things Wolfe said. Architecture is constantly evolving, and the "International Style" is just a phase architecture is going through....
-Related to the previous bullet, I wondered if Wolfe would be complaining if architecture hadn't changed. If he'd say that architects were being 'yellow-bellied and....bourgeoise'
-The "International Style" reminds me of suits. Most people think they're uncomfortable, and they still wear them. And the style is spreading everywhere. And it looks the same. (Don't get me wrong, I like suits. But that's how they can be compared to the glass boxes.)
-Wolfe used the phrase "take it like a man" a lot. (He was being sarcastic, right?)
-He thinks that this new style got rid of all the 'real' talent. The less-talented/lazy/smart-alec people got to shine in the "International Style"
-Most modern cities look similar now days....
-(Ellen pointed this out to me when I asked her during lunch...and this was brought up in the discussion) Wolfe uses a lot of religious terms to describe the architects.
-(From the discussion) I never noticed that you see more detail the closer you get to classical architecture, and vice versa. I thought that was an interesting detail.
-(From the discussion) I also liked how Danny (I think?) pointed out that the folded paper showed how functional it was. The paper airplanes couldn't actually fly and the paper cathedrals couldn't be entered....and that's how the architects applied this way of thinking to buildings and the "International Style" was the result.
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I wanted to talk a bit about acting class 2, but I don't have the time...so I'll quickly write down these two bullets:
-....Wait. Aw, man. I forgot what I wanted to say
-(I think this was it) The main point of the class was that your body can affect your mood, and your mood can affect your body. I think I remember reading something like that in this book about body language that I have. For example, if you cross your arms, you tend to feel angry/defensive feelings.
- When Luke mentioned that "we did this during our childhood". I agree. I find it harder to 'pretend' now days, especially with other people, since people don't do it as freely. And I miss that. A lot. It's funny, since I was thinking that a lot last year, and this year.
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Some quotes I found from the STAC blog on Dada, that makes sense to me, and how to approach Dada:
And it doesn't have to make sense, because we're at a time where we make our own sense - our own personal sense - of the world.
My ideas these days on the process of creation center around the decision making involved
I never know how to comment on your blogs, because you always cover a lot of ground in a very interesting way, you are always insightful, and you express things so cogently that I find myself agreeing and marveling at your level of understanding.
ReplyDeleteWolfe is really opinionated, and it's a wonderful book for sure, but the guy isn't necessarily right, it is an opinion, with which one can agree or not in various measures.
I agree with some of it, other ideas not so much. While I do think a lot of modernist buildings are boxes, I find some of them quite beautiful, and those architects certainly have talent. Being able to design a classical building isn't necessarily an indicator of talent. It is essentially copying if one simply apes a style, in exactly the same way a bunch of modernist guys all making the same bunch of Yale squares isn't any indicator of talent.
For me, in all artistic things, it is that sense of growth and the re-creation of forms - we read Peter Brook on Holy Theatre - the authentic, connected ritual sense of things - that is important. And I think this obviously explains why the early modernist buildings are cool and interesting, and why knock offs are knock offs, and also why some classical buildings are wonderful an innovative, and others suck.
I am always attracted to the liminal moments - the work from the artist discovering things for him or her self, rather than work that is mature and has gone over into a signature style.
I think good art comes from restlessness.