January 3rd, 2010
American Architect Frank Lloyd Wright‘s Vision of an American Landscape and Society.
100 years ago in 1910 the Wasmuth Portfolio was published in Berlin. The debut familiarized European architects with Wright’s Prairie Style Homes and left a notable impact on Europe’s emerging modernists. Though these houses resembeled others of the Prairie School, already they were distinguished by Wright’s unique style, and indicative of a deeper philosophy in formulation. Perhaps the most emphatic evidence of Wright’s future vision was the introduction of the word “Usonia” a word of trivial origins that would later become associated with Wright’s designs and proposed society. While in Europe during 1910-1911 Wright used “Usonia” instead of America to describe the United States. This word was used by Wright perhaps even then to embody the America of his ideal.
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October 17th, 2009
The publication of the Modulor in 1948 by Swiss-French Architect and Designer Le Corbusier was greeted with both admiration and skepticism. Admiration for one already an icon of Modern architecture, attempting to revolutionize engineering as they knew it. And skepticism for a super star turned crank. The motivations of such a project were quite practical. To Le Corbusier and many others both the Metric and Imperial/Standard units had proved inefficient for modern architectural and industrial design and a constant source of frustration and confusion. Le Corbusier assumed a new truly rational system of units would be welcomed in a Post-War World. This bold new system would be based on the human scale much like archaic units of measure but the graduation would be based on Φ (Phi) , or golden ratio a mathematical constant believed by many to be synonymous with natural beauty. To base proportions on human scale is practical and common practice. To unify these proportions with ratios realized in the natural world is logical and beautiful. However the implication of such an achievement far exceeds the development of a practical tool. The existence of such a system implies the discovery of a divine “harmony” and a formula from which both utility and sublime beauty can be achieved by application. This in itself emboldened critiques and marginalized Le Corbusier’s efforts. Never the less he persisted and published a second volume Le Modulor 2, in 1955 as a supplement to the first. Eventually his passions and instinct’s revealed to be those of an artist rather than a mathematician. For many reasons the scale proved at best incomplete and inconsistent, far short of a universal model. Even so the Modulor continues to be used today both as a design tool and source of inspiration by architects and designers alike. Many works based on it’s scale are considered exceptional if not divine. The Modulor represents an apex of uniquely Western Ideas and as a work of visual art will continue to be like Da Vinci’s Vitruvian man an enduring symbol of Western thought.
Le Modulor ( To purchase a facsimile copy of the English edition )
Tags: Geometry, Φ
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October 6th, 2009
Scanography is a method of photography that uses a flatbed scanner to capture images. It has long been an office past-time left to to those who dabble, but some artists are realizing the possibilities of flatbed imaging. Compositions range from the classic smooshed faces and other body parts to random scattered items or artful botanical arrangements. The fantastic image above is one of a collection of six scans created by photographer Brian Gudas. His collection which can be viewed on flickr is by far the best example of this type of work I’ve found.
Botanical Scans by Brian Gudas on flickr
faceyourpockets Project (An interesting collection of self portraits).
Scanography art by Sergey Sorokin
Tags: Photography
Topics: Photography | 1 Comment »
October 6th, 2009
The purpose of this article is to discuss and compare the material products of Zen philosophy to those of Modern and Contemporary Design. This scope includes direct contributions of Zen in Art and attempts to explain perhaps by way of coincidence there exists a deeper agreement between the science of the West and philosophy of the far East as it pertains to Art. As the West’s awareness of Zen has grown so has its credibility among artists and thinkers. This credibility is due to the practical and applied nature of Zen philosophy. In Zen the West has discovered a mysticism to complement Scientific progress.
Zen is a term familiar to many in name, but in definition remains elusive and with good reason. Zen practitioners would refute the ability of one to relate any understanding of Zen in the written word, for it must be discovered through experience by the individual. I will not argue this point however I will attempt to impart my own pedestrian knowledge and understanding of the matter.
OVERVIEW
Zen is a school of Mahayana Buddhism, with a tradition of philosophy and art of an extraordinary type. At it’s core is an anti-intellectualism based on the notion, true knowledge or awakening can only be transmitted through experience and meditation rather than through books or lectures. It is derived from the example of the Buddha himself who attained enlightenment without benefit of man made instructions. Often it is contemptuous of the occidental and full of contradiction. Some have described Zen philosophy as the antithesis of Western Science. However like Socrates of ancient Greece the Zen Master is certain of only his ignorance and instinctively questions conventional wisdom. The questions of a Zen thinker cannot be satisfied with theories and equations for it is the poetry of man’s inquisitive nature and an art from the same seed as science. Where science’s observations are inhanced by mathematics and instruments, Zen has only metaphor and intuition. Like Science, Zen is a process used by man to gain knowledge and understanding. Unlike Science, Zen cannot assist in calculating the circumference of the earth nor does it attempt to. Rather than exploring the tangible universe the Zen process conquers the intangible universe of the human heart with compassion and seeks to reconcile man’s terrifying mortality with detachement and humor. The art and sensibilities that result are as provocative and timeless as the Pythagorean theorem.
The image above is an Ensō 円相, a common symbol used by Japanese Zen artists. Though many see the Enso to be a symbol of infinity, it could easily be synonymous to the “?”
” To acknowledge the infinite is to ask infinite questions ”
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Tags: Japan
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October 6th, 2009
The Venus, a tiny statuette, little over 4 inches tall is one of the oldest works of art unearthed from man’s past. She was carved from oolitic limestone of an unknown origin and deposited in Austria between 22,000 and 24,000 BC. The musing of her purpose has produced many interesting but unsubstantiated theories from self portraiture to mushroom cults. Perhaps she needs no detailed explanation. Though ochre herds populate cavern walls and indeed man has long believed in spirits in need of solid form it was woman who inspired man to come out of the wild and recreate beauty in whatever form she appeared to him. Below is a comic entitled Hilltop by Tom Gauld. A compelling theory well told, though it may not satisfy the world of archeology to describe the origins of the Venus, I think it does however illustrate a fundamental and unchanging motivation of man’s creative impulses.
Don’s Visit to the Venus (first hand visit to the Venus in Austria, great pictures and commentary.)
Tags: anonymous, Artifacts, female form
Topics: Objects | No Comments »
