Johan Huizinga in his Essay on the social function of the game states that "... culture, in its primitive stages, bears the features of a game, and develops the forms and in the atmosphere of the game. " The latent idealism of the author, and sociological assessment closely higher forms of the game, do not devalue that the first contribution is his work. It is futile, secondly, to seek our theories on architecture or the drift of other motives than the passion of the game
Both the spectacle of almost everything that happens in the world arouses our anger and our disgust, as we know, however, more and more, have fun all. Those who understand that we are here ironists are too simple. Life around us is made to obey absurd requirements and tends unconsciously to satisfy its real needs.
These needs and their achievements partial partial understandings, confirm all our hypotheses. A bar, for example, called "At World's End" , bordering one of the strongest units atmosphere of Paris (near the Mouffetard street-Tournefort-Lhomond), there is not by chance. The events that pertain to chance as we do not know the general laws of their class. We must work to awareness of the broader elements that define a situation, apart from commercial imperatives whose power will diminish forever.
What we want to architecture is an order pretty close to what we would do with his life. The great adventures, as they say, may not have the framework, and sources, as the beautiful neighborhoods. The concept of beautiful neighborhoods change.
Currently you can already taste the atmosphere of some desolate areas, as clean as shockingly adrift unsuitable habitat, where the system locks up, however, the working masses. Le Corbusier himself acknowledges, in Urbanism is a key that if we take into account the miserable anarchic individualism of construction in highly industrialized countries, "... underdevelopment can be as much the result of a superfluous than a shortage. " This remark can naturally turn against the neo-medieval proponent of the "common vertical."
Individuals have outlined very different, with apparently similar approaches, some architectures intentionally confusing, ranging from the famous castles of King Ludwig of Bavaria to the house of Hanover, the Dadaist Kurt Schwitters had, it seems pierced with tunnels and complicated by a forest of columns objects agglomerates. All these Baroque buildings within the character, that there is always clearly marked in tests of an art full, that would be completely decisive. In this regard, it is significant to note the relationship between Wagner and Ludwig of Bavaria, which was itself a synthesis of aesthetic look, the way most distressing and, after all, the most vain.
It should state clearly that if architectural events, which we are led to pay the price, in some way akin to naive art, we feel for something else, namely the realization of forces future discipline untapped economically inaccessible to the "vanguard". In the operation of market values oddly attached to most modes of expression of naivete, it is impossible not to recognize the display of a strictly reactionary mentality, rather akin to the social attitude of paternalism. More than ever, we believe that men deserve some regard must be able to answer everything.
Hazards and powers of planning, we're just now using, we will not stop us set a goal to participate, the fullest extent possible, their actual construction.
The provisional field free play activities, as Huizinga believes he can invoke as such in the "daily life" characterized by a sense of duty, we know that it is the single field, restricted by fraudulently taboos to claim sustainable real life. Behaviors that we like tend to establish all the conditions conducive to their full development. We now pass the playing of an arbitrary convention to a moral foundation.
Guy-Ernest Debord, "The Architecture and the game," Potlatch. Newsletter of the French group of the International Lettrist , Number 20, May 30, 1955 (Editor: M. Dahou, 32 rue de la Montagne-Geneviève, Paris 5e.)
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