Dimension 56v2 #2

.. . somettme i11 uur age numltind di.scovtYtd

lh~

positive exisltiiCt of

11

fourth

rl11nnllion, and all of a sudden our minds captured 11 new merming of things,

press"d

111

~x·

Contemporary Science aml Art.

Tit~:

pro/Jlr.m of DIMENSION returns to us

~·itlt

lV'-Ilt t)()wt:r after transcending the

{Y<JZ/111 trilogy of "liru:,.mrface. an.d u<Jiume"

iu which it uon.1 crut e11t:r since Euclidean times. We- rertlize

1101.11

tluU DIMENSION

inary; third, fourth or fifth, represents our

.mpreme nml•ilion to goveTn the

r~t~ivers<'

in a nwllilutlt of directiom.

DIMENSION unlike mertmu, is flexiiJlt, and fall 1956

fuudamerllnl . tmd dym2mic.

volum. 2

DIMENSION neither t.he r.hircl nor the

of architecture and dtltgn of the univenity of mu:tugon

sixth. but tltl'

box 2127

11th

humrw f)()Wt:r to study,

number 2

on independent publ icotion by the studenh of rhe college

ann arbor, mkhiean

josepll nud nut

jose francisco ter0r1

motnias goeritz

martin meyerson

dole suomelo

2 THE ROMANTIC NECESSITY 4 MATHIAS GOERITZ:

an inlrodu,tion

11 El EC 0 : emotional architecture 20 THE NEXT FIFTY YEARS

25 A SYSTEM OF MULTIPLE DWELliNGS

richard j. neutro

33 THE ARCHITECT CARES FOR SENSITIVE RESPONSES

rudolph ornneim

38 A REVIEW OF PROPORTION

james e.

J.

eldridge

felix candela

45 INKLINGS:

1956

50 INTUITION AS SYNTHESIS

0" the cov~r tht first prtliminory <lrowil'l'il by Mothios Goe,ilz. for the expetitMI'\toJ tn\lsevm fl bvih in 1952-1953 t .... the center Q/ Mexico City. OS "the exomplt of Qn orchitectu,e whose MOil\ rvnction if EMOTION".

eco,

r.,,,

2

THE ROMANTIC NECESSITY

joseph hudnvt

Whcr-.c<~cr

I em in AM ArbOr I novor !oil •o be imP•MS-ed by

the excellence ol the desigM t'I'IQde in rl'lo Cofle9e o~ Ar(l\,rectvte.

Tl-.e students ir thor Jchool exhibit o svrpri$•ng com~e1e:~ce in 1hc 1eehniqve.s of plof\ning: they domons.troto ofren o sovnc rheorcricol knowledg~ of rho science\ of s.trvctvre~ they hove invcrtion. tas.te. wit, disccrnmeflt Q'lC (sometimes! SCOiC. Nevertheless I find one excellence loc~ing : rhc e)(cellence called romcm<e. The post!ies mode in tho College o( Architecture ore s.o :e~olvlely r'e-olis1i<, so absolutely arogmoticol, thot 1hey will not odmit so mvch 01 o pinch ot that seasoning which, were it not overlooked, mi9h :nokc them poloiOblo.

One of rhe ir"Structo•s in des.gn OJSUI'fl rre thQt thete is nolhir.g ro be worried obout. The siVdents. he sov>. mole up in rho< po-ivolc livM v.H\orevrer ~cy be locltCotg in their PfOf&J.Sional Yuaics.. &.tt I om •<~ sofsfoed 0y rhis explonorioo. A•ch)cC/uro w;rhoul rornonce. no n'\0'10• who: Other QuOiitiO-i it rTW:¥y Oflain, iS OS vr.encb'oble 05 C

life without romo1ce - osst.~ming tl-ot such o life could be imagined.

Whon I remember the works of g~nius tho, t created or Al"ln Arbor I (Cmc"'ber c"iefy 'he wcr'TI mou'ltCir'IS of sent~ment with which I unblushingly sugared 1hclr somewhat quest:onoble relovcn<e to funclionol r:ecessilles ·a."ld the un ·eooc&rotive lows of mote:"iols.

There wos. :or exumple, thot /'o}oc:fJ lor lh9 G ove;!lnOt-Geuercrl of

"'~~·- S!Ul mghdly pCiuresQUe and thrilling in ""' morne<y, O'>d vcllod wah rhe glamorous ob<c:codobto of onion-shaped cupola.

Cu$Ped orcodiiU, ond c:.,is-cled srafoctitcs . VVhotcver mlghl be thought or it in Algiers ll·.aJ palace was to rne o magic lamp. The rodi<lnc.• with which it suffused r!'.y drawi11g board wos r.ot Ofle whit loss. CNaptvring than t.,at wh:ch I fovnd in my ccnoo ridts on rho Huron or lr rhe wclt1ei :."'ot I dvtifvllv donced ol Grongcr'ieven when. as sometime$ happened. 1hc1c ended in sontimontol episodes in the thodow of o sorority house. As I remember lr, we li ... cd - ond do,ignsd --before $Cicncc had chilied and mecho· 'liz.ed ovr mii'IOS.: OIJr heo1ts were unwithered by any doubt' ot the mconir.g of architecture: one' we dared and .shove ond believed oncl let ourselves go.

I do nOI &uggeSI rlr<rl rhe 11udcm in the College of Atchirecr""e or A r.n Arbo: should d&s'.gn horetn< for NO<th Alriccn usc. I must ndmit rhor my Al$lcrion polocc, designed wiho<.t •el.,enco to tire ~gerlons or lho french, or lo lhe cl"""e of rho Me<merroneon, may ha"Ve: beer'l wonf,ng in SO""!e of that practical $6ns.e t))ot which ought to be a criter·on in all judgmen•s of architect'Ure. I w ill, if pressed. admit that it was slightly (Orny.

Aod Y•t thot poloce hod in ir somothing thor urgonly nocdt 10

be esteemed in tho oornost otoliers of Anfl Arbot. Thot $Om41hit\g

3

wos o se'\Se of wonder ond Slrongo11oss. of ~ture ond SU!prisc.. of un;nhibilod delighl "' one<:dCie ond •cnsuovs sorfoce, all of which wttr6 neither extrar'leous or o<cidontol - !'101 a dded on O! o•sthetics arc added to works of engif'l(llfif'lg-but in1rinsic to tho idea to be expressed. H .0$0 fo•lif'I<;JS were fused il"llo the o<;1ucl ond fJni1e <:hcroctoristi<;s of struc1uro ar'ld possessed th.ero, ro our rc<;optivo mif'ldS, th!! mogicoi power to lift o w~igh1y fobfic of brick ond stone out of the dull oi• of r$Ot(')n Of'ld ncc•ssi!y in which they occurred into the enchontod SlfQIO of the imagination. Thot fu$iOn I coli romor~(;~.

We ore roo reosor.oblc rowodovs obovt rnoso rr.ot1crs; roo self· conscious in ~lte resolutio., of our tl-.oughr'. Of cour.s.e I know that this fusion of feeling ond iC>rm :,. cu'l i~usion - for ideos and feeling$ o•c ir.eorpercol things - bur i1 is on ilk.!~ that wt:.P-e:$ o $1.·~~ fJ(initi'ofe ond er.d.t•ing dcs.,o. II G Of\ iltusion tho1 mon hcwo cherid:ed ever si"ce ttlat dim oge '" which they titsr leomed their rtoel!'d of or. im"1'1Q:ef'iol unjyerse. And it hos. bfun the celfain resourc., of f"c o·ts ever $inCc the rintc of the cov• poil"ters.. W e must nor beliove t~er thi$ ~eec c.o1 be svpprG.ssed, either in the pubfi< mind or in our own, by sc:e'ltif.<; thought o r philosophical system.

I once hew c student who wos o.sk.ed to design o hot~se for

o sciAPio•. Tcking odvonloge of or• .....,..... silo he Pfoposed that lhe lil>ing·rooms should be placed "" ore hil, rho 11ud<> o• another, so that the two we:e .eparoted by a de•p rov"'e. " I C.d this.'' soid my stud•"' " so rhot I might build o br-idge ave• tl>o fovino.'' I li\Gd thor irrotioflol rorionolity, II seemed ro me thot mv

Sludoot hod looked below the surlo'e ol ti"mo" noture ond hod alfeady guessed the minisuy of architecture in human affairs.

Happily we do r.ot hove to !ook to Algiers for the romance lhot m;ght 9ive life to our desigO>. We hove only to look below the sutfoco of fhe civilitotiQI" :hot $ufrOut~ds. us: ro discovet its grondour, its nobillly of purpois, its brcoc'th of tompossion of'ld tho vost dromo of i1t cre.scent power. Thes.e, and not our technologies, ore rho important quol~ies o{ moderrity - the romont:c qualities that con not bo oxpconcd in o language thct is cold, e)!oct and lmpersonol.

tile IHing quol~ic> thot might bEl tho btcoth of orchitecture. t wish lhol evetY sluderl would wriTe th;s oo tl\e f.ttl I>09G of hi> note·boo~.

EXJ)tes.s;Oit in OJcltileclure ~et has been Oltd tUtvtr wiH be dep•nd.,t I.II)On ren.sor. in the o.rrangeme-1\1 ol morerioh.

Do not, fhef'l look in s~eel for rhe rherne of your ort, S1eel

expr&$S81 r'lothit•9·

4

MATHIAS GOERITZ:

an introduction

jos.e francisco teran

"A Renoissonce tr\On in who~ in.ti-ght on• feeh tho myttici~m of th• greol ortiJtie rncnifestali-onJ," wi1h rhes.e wordJ Clcudio CevolioJ described the totality of Goerhzis penonality e~nd work.

Pointer ond sculptor, architect and poet, Mathias Goeritz belongs to the oenerotion of orti"Sts who com& under the direct i:,fluetlc;e of the great p1a~tic movement$ of the 8rvdt•~ the 8Jo~,~t Re;ter,

and the Bauhaus. Hi$ generotion lived the tro9ie ever~t\ of Cenuol Europe since 1933. ond wos in foet on 1mporton1 torgot of the moll decadent and degenerate philosophical and political ideas of the time.

Sotn in Danzing in 1915~ Goeritz: euc;porienc::ed hit fir" ortis;tic; under the inAve oe-e of Gt'l'mon Eap.reu.ioniU"n (Eric; Hedcel, Hans Orlowsl.i. Mox Kovs. Kn1he KoUwill). or>d wos later in contO<t with Pa11l Klee·.s. "inter i<>rixo1ion" of the ovter world.

Hi.s. insight. os Kl.ee•s. develop-ed from his intuition of the mos-t elementary force.s. of nature. end hiJ neotnes1o 10 the essence of thingr.. Thh spol'lltoneity and diutctnes!. led him 10 admire th• pr•hl.•toric paintings of thto C:O'res of Altamira, in Spain~ where h• founded the well known "Escuela de Ahamlra.. in Sontillana

tendene:ie~

del Mof. In this school pointers, scvlpton. orchitech. and poets from Spoin. Mexl<:o and South Amer,co meet every year to

discvu and work.

f /

/'

To

ct.ocnt>.

oct.quo,.

Goeritr' s penoiMIIily or works WOIOid b. 1oto1y if>.

,.,.,.111., clcw.e with wads or willl ,.,.od<Jctiom.

His u-loM _,. lo , _ directly " - o t.;gllly periOf>GI ,.)"'ie;..,, Oftd the tMdio of ,,.pr..,lon ... oo octu<ol poft of 1M IDtal ..-ion rathw tllo• .,....,. ro an eM. fo< tl!k r - ha wort.

II CONionlly do 0110"'o as II a '""'""' _,. of ,...,.._.,, o ,...,ololio<l of .,...,. dy,.,,.;.,., impired ......, bit of hit worlr.

Hio intelle<lllol ol'd emotio<lal uMerllandi119 of the prltr~ory fo,.., of ~fe ;, !*feet, as he Ia ablt ro command millions of symbols oM lorlta>le> wllhout rtpeolin~ hi111MII or btln; subjected to any ponlcular lendenty. HI; undemanding of life Is daoply rooted in his thotough philo>aphicol ltolnlng. His conclusions art o result of March Into the ontology of art. Ht Is a master of "'any of intelttct o.O emotion; o philosopher and llngul$1 by troining 1 an ortill by birth. $obosllon Gosch said of him, "Hls work always pr-nts sorot now revelation, juri when we believe thot It can be plo<ed In sa•no known C•o togOty or tnink we hove diiCOvtrtd In h o new forlt'l, wt lind ouMfves drcrwn and molltred by 1M special charm of nts constantly O<ivinol inJf>lrotlon."

y..,,..

During the aocond World Wor Goerllz taught lon;uogH and hl$1ory of art In North Africa. Ht wa1 In Spoln alnct 19-4$ whwt he founded the Ahomira S.hool and exercised a ;trono inlluei\Ct upon the entire orlhti< ponorom<> of Spain. Simuhoneously he como in contact with tho sculptora Angel Fttront, and Corloo Ferreiro, and with tho very distin;ulshod group of the "Younv Modrld School" (llenjomln Pafoncla, Antar>la Vatdlvleso. Polito Polouolo, Carlot Poscuol Lora etc.). lrl 1949 Motl>iot Gowin onW.d lo Mesdca whre he found oo tnliroly dill_,. artistic enYironme.,. He ad"'irod tl!o ~«oluol>biolo ort ol 1M Aztea Oftd the Moyos. bwt hia direct• ..,....judiced approach to ortblk ereclo!hed with 1M dogn!ric !amah.. of ll>o nto-ftoliot po;nter> lb D'"$0 a;..ra, -.1 DcMd Alfaro $!qo*ros.. He poohlidy occvsed with "- ,;ngol..- onaga,_ ol 1M IMxk on ......oldts of being a ·~-· dt<o<hnl", o "'oKi.,.., o 'cono....,,.;.r, ·..., el!pOnonl ol European de;tnt<ollon".

Goorhr's cwnwer to tile oproar creoled by hll exhiblta wat the ' - ' ..ptrimontal m<~r.eum El ECO whkh he dosigned and built wilh 1M help of aome of his frltnds, Gotrlt2 hlmstlf ••· ,......,, the entire id•o ol lho "'•••om In tho oel<l pog"' "An UNfiNISHf O C:ONSTtUCTh) N 1955

experiment w~h EMOTION, nothing eloe. ond nothing leu". His empha•i• "" EMOTION o> o <6n1Tol theme of oU ortis~c creation i> not o su~ciol ;,leo - h• is o doctor of philosophy of o great G&rmon un.ivers:ity. His. is. on inbom undet'ltondiftg of intnn.sic natv,-e with whic:h he c:ommunicatH in tho simpleat term1.. His rono• or emotional interests 1ipans between the prehistoric painrings of Altamira on~ the dotty anguish of contemporary men.

He 1poko to m• of the prehist«ic paintin\11 a1 ''the product oi a J&~b<onscious mind to perfect that mon was able to choose the •xoct material• for the oxpreuion of his impur~s. lhe paintings are c.onttantly changing.. ond sometim&s disappear completely as If they were alive,. A'most tmme:fiotely he went on to co11nect that mt'tety "with the modem mY1tery of the h11ge Americo11 city in which you fe-el 1he dear beab of on overwhelming m•· chooi<ol heort".

Goeritz•, emphasis upen immonen<e, upon interiorlzation. is in vroot conlrc>SI to the flomboyonf elderiorizotion of other con. temporory Mexican art. Ho-ver he 1..1, very clo,. to the .,.. >enc:o of Mexican ort of oil rimes. Hi> ideol of "plostlc inleljrotlon" 1.1 qu;.• d~renr from whot exptuience in the Univen.ity City of Mexico. In hi• statement on Emotional Ar<hijecture (EL ECO) he 1ays' "the attempt wot not to tuperimpote pidurM ond sculpture on the buildin9 .. Q$ it is usually done with the adver1iJing billboard• of rnovie-rheotres, or wl!h thoo rugs hu~g from polotiol bolconfes - bvt rother i1 wos neceisory to ondontand the orchi· tecrurol spoce os o big sculptural element, whhaut falling into goudi1 s romontic:bm, or into the empty itolion and german neo· classlciam." His 1totement is a direct anlwer to the obuws of the Mtucican muraHtts~ and o dorificat;on of hil fr•edorn frotJ'I E\olt• opeon decadence.

w•

When Ooniel Mont, o famous 0t1 lover of who,. lonto>y people >old could "bu~d o bridge 10 the moon with toothpick.". oppr'OOChed Goeritz lo de•i9n ond direct the experimental mu,.vm El ECO. Goerit• o••-red ..thanks. but I om not on orch!reet'', and Mont replied ~~'thot l$,pr&dsely theo reason~ on architect would havo pre<oneeived ideas, and you con do s.omothing altogether new"'. The "party-linen" led by Siqueiro, insisted thot the rnusevm wos "decoden1. individuoli$t;c, don;•rou:dy fore';n". Strongely enough the leoding 9enetotion of Mexican architects come to

THE PROPHET 195•

'

SAVIOUR OF AUSCtiWITZ 1'953

uoerill:'s defense wirh wdl iMpetvs that since lh1tn R £CO has been cx:c&p1ad at the exper imento·l rnu.evm~ theatte·irHhe. •oond, ond night-dub, that Gootrill d&s;gned.

This in1roduc:tion to the Americon orti•tic circles of a disringuished European ortitt well known in Europe ond lotin·Americo, is

accompanied by on e•hibltlon of Goe•it.t's sculptvres in the Confoin Gallery in New York. However the introdudion would

Mt be (Omplete wilhoul pointing out the immense lobors of Mo1hios Go•l'itz os 04" edvcotor. My former references t-o hts spo.nto.neoui it~wordneJS oft<~ penonol mysticis:m does not detroct

SAVIOUI XII \9'55

Goeritz from a rich verbal o~>d ploS1io communieotion w~h oil klndt of people, especially >tudenl1. His educ:otional task co•ded hi"' to North Africa os o profeuor of philosophy, languages, ond hittory of art. Be.ides founding tho School of Ahamira, and gl•ing Impulse to the ''Young M<tdrld School", he now leads the "•iwol educotion" departments just recently Installed in the schools of Arch~ectvre of the University of Gucodolojoro, of the Notional Univer>ity of Mexico. and of the n•w but already out· srancling lbero·Americon Univenify. At 41 Mathios Goeri1z and his wife (o distinguished photog•apher and artist whose ...,k

illustrat .. tilt. ortide) leod !nom theit abandoned cenvent·home - o f th• promising geru!fotion of ortfsllln th• Hew Wcrlcl.

OlD AND NtW

t~SS

~lOft Qf atyacr• per c:ity w iet. p iC'htreaqlriO ...lllfg..)

mathias goeritz

emotiona I arc hitectu r~

E L

E C 0 11

the new nexperimentol museumu:

El ECO,

in meJ(ico city, begins its activities, i.e..

ils experiments with Itt own building orchite<:ture. this work wos undertaken os on example o f on architecrure whose main function is EMOTION.

orr in general, and natlKolly orchite<lure also, is on expression of man's spiriruol however there exists rhe ideo thor the oondition ot o particular lime. modertl orchited, individualized ond intellectual, Is often exoggeroting - perhaps beoouse he has broken off his dose tlon with the comm<ll\ily - when he tries to g ive too much importonoe to the rational aspect of architecture. the result Is !hot the XXth century man feels overwhelmed and crushed by so much " functional ism~, by so much logic and utility within modern architecture.

he looks for on esoope, but neither the extemol aestheticism known os "formal· ism·~, nor the orgonic regionalism, nor even thot dogmatic confv:sioni$m hove confronted '"e fundomenrol problem thor oontemporory man - creal<>< or rec.eptor - aspires ro hove something more thon o nioe "ouse, comfortable and livable. he wonts - or will some day demond - f rom architecture ond its modern materials and techniques, o spiritual uplift; simply stated: on EMOTION, similar ro the on. he re<>eived from tht- architecture of the pyramid, or the gr~k temple, or the romanesque a nd gothic oothedrol, or the baroque polace. only by experiencing, in architecture trve emotions, ron rnan consider it ago in on ort.

growing from rne conviction that our time is fvll of high spiritual demand•. El ECO does not wont to become anything else bvt on expre•sicn of these demonds, aiming - not so consciou•l y but a lmost ovtomotically - or o plostk integration thot will generate in modern man o mo•imum of EMOTION.

12

.......l. •

...........~.........-+.

~..,

•

"k• ol lllCO

•.

EL ECO's lond-plot is •moll, but by using walls 23 to 26 feet nigh, and o long entronc. noll which narrows toward the end (with bn upward pitch in the floor, and a downward inclination of the roof) it was attempted to creole tne impression of greater depth. the wooden strip• voed for tne flooring of this holl follow the some lines, narowing toward the end vntll tney intersect. at this point vioible from the main entrance, there lo o sculpture, o loud SCREAM, that flncts its ECHO in a "grisaille" mural of opproxlmat&ly 1000 square feet, of which the some sculpture'• shadow is o part. the sculpture stonds out from the moin wall of the Iorge hall.

undoubreclly, from the functional standpoint, a great deal of 1poce was lost by it1cluding it~ th• scheme a large inferior court. but Its. existen<e w<JS justified ro culminate the emotion obtained from tke entrance. besides, the court serves for the exhibition of freestanding outdoor sculpture. os svch it covses the lmpre..ion of a small piazza. enclosed ond myMeriou•, dominated by o huge cross which forms the only window-door. if in the interior o toll ond block freestondil'g wall had to give the real f.eling of on exaggerated height well beyond " kumon )cole", then the court needed o mvcn higher wall yellow in color - functioning os o s<:ulptural element. tnot - like o roy of sunlight - would enter in tile group in which tke only colors are white and gray>.

in the experimel'l of El ECO -plastic integrolion" was nor undentood os o program, but In on entirel y natural sef'se. the onempt was not to super· impose pictures and sculptures on the building, os i t is usuolly done with the advertising billboards of movie theatres. or with T/>e rvgs hvng from polotiol balconies - but rather it was n«essory to vnderstond Ike architectural •pace as o big sculptural element, wilnout lolling into govdl's romonlicbm or into rl'>e empty italian and german neoclassicism.

13

l

J l

1

it wonts to be the eKpression of a free creative will, that without negating the values of "functionalism" anempts to subdue them under a modern spiritual

conce:pt;on.

the ideo of EL ECO was born from tne unselfish enthusiasm of o few met1 who wonted to give me~ico its f1~t "eJCperimentol museum" open to the artistic pre· occupation of the modern wold. the on:hltech luis borrogan ond ruth rivera helped with their valuable advice. o g<eot •timulus came Item the studcnb of "visual educotion" of the guo<lotojota Khool of orchi tectwe.

16

sculpture as In the case of the snoke in tt>e court-yard hod to become orchitecturol construction almost fvnctior>ol, (with opal'lings for the ballet) thor without destroy· ing its being o ~eulpture, orticuloted itself to give rellleu movements to the plain walls. there is not any 90' connection in the plan of the building. furthermore some of the walls ore narrower on one side thon on the other. the strange ond almost imperceptible asymmetry that i$ observed In tl>e construction of ony face, in any tree, In any living being, has been searched for. there ore no gentle curves or acute vertices. it should be sold, the whole thing was creoted in the preci•e moment without exact drawings . architect, mason, ond sculptor were all one person.

I

·I

i repeot thot oil this architecture i~ on eiCpetimenr. it does nor a im ot being a nything el se. an expe<im.,nt with the purpo$e of creating ogoin, w ithin modern archilecture, psycl>ological EMOTIONS for man, without foiling lr>to Or> empty and theatrical decorotivism.

I

I

li

! lrullslured f•·a m lhe spanish

by

jost

fronciscfJ

leo'ull

cuadtmw dt arquiltclura

it would be necessary to thank all of them. and equally tt>e engineers froncltco hernandez macedo. victor guerrero and rafael ber>ilez; to the pointe,. ond scvlptors carlos merido. r~flno tomoyo, ond henry moore; to the mv$idan lon adomion, to the masons and pointers, to tl>a plumbers and other workers. all of them spent their time there, i'lelping will> advice or direct fnterventions whenever fhey were necenory . i betieve. that for rhem also, tim• wos not losr.

I

J

I

I

I

I !!

-

~

-

-

Rlm MkJ give~ a t th• s.m i-Ctnt~ni4l ctltbration symposi~m, University of M UJ.igllot, Coll<g< of A r<ltil<<lure and D••ig~. Octob<r 2!>, 1956

20

THE NEXT FIFTY YEARS martin meyerson Professor of Cil;r Plonninf, U niuers:it;r of P<n>U)ofuollia

"These ore the times. that try menls ~eult/' Thomos. Poit~e wrote in 1776 in M' pamphte1J The Cri•;•. 8ut oU tim$$ s4tf<:& M!em to havo b&en tim•s. of ~(isis. ond men'1 souls hov-e been tf'ied ever alnce.

Howov.er, ir is on\y i" mod•tn time,. that we have believed ovr sovls and mindt and iiJIO!Iinolion> ooe !tied by the environment ond society in which we find o•rMives. Discc>nlent with life cand willin;.,.,. 10 .,.....,. tespo<~slbiUty for chengi•11 ond improving it ere powerfvl rnotivoting forcn of modem times. We ttO 'onger wail Ho temporo, o mor~/'' ok time, oh cvs.toms.. os. the oncteot Romans did in despoil. Our "'dWine dOconten~ push•s us on to greater ond greater dis.c:ovt-ries. obo~o.~t, and thus t<>l'ltrol of. ovrselve~~ 01td the uniYer~• in which we ltve.

We have learned a great deal in the lao? 50 yeon through out divine diw:ont•nt We have learned about our physkol milteo; ho~e creoted new rcnovrc•s by finding woys of u1lng th•mr we ha"Ve built our houses ond foctorios and mean5 of tronsportation Ot.tt of new mo,.rioJs ond new Cesign5_, ~erYin~ new p~.upoMs, ond produc.ng n•w spatial or;tJ01ilof;om. We hove abo learned much abo"t the p>~hology of men and th• way• in wl>kh groupt of _, funoclion. For """"'PI•. ha.., learned o groat deol obout the econe>mic lows. of soctety. the OJ)fiotion of the morlcet_, th-e totionol• of loca~ion, th• subdeties of governmental inte-rv&ntiOI\ in the offoin of ,.,en.

Since our knowledge of the pre>ont i> improving, we he>wt a loo laarned .,'!Ch aboon th& future. W• con predict. for exomp1e, gi.,en pre$-~:nt (eproducti...e pcrttern1 and onticipoted l•f• ••pectot~cy. the $hQttoring increose in the oumben of fM'Ople to be housed, led, put to .,.ork, am•$0d and transported in tho 2.S year• ahead. If pre•ont tre.nds continue, o1luth111r Gulick point' ovt, w. wUI almost double ovr pre~oent poputotion in the next 50 1ears. The United Stot.. will lhen hove about 30() million people, o """'ber <lose to the pre..nt popYimion Indio had o f - yea" ogo. lht population potodol b.yOC1d the nex1 50 yean w~l ~ very much g<eater.

II we vil uoliu rwo people pvshing for every one ~ pre.. ntly poc~ed in tne •ubwoy cor> ond buses, o• two automobiles IMttad of onoe jo._ed onto espr<o»woys. or double the d..ory >ubclivi$iOns, we do not do iu•tiee to lhe impact of thi• fiiJOire o. the incr•o~e in popuro1ion. Mony variQble' wklch are functiOn$ of populatioft •i.te, such as troflic movement, incf~os• geometric:olly roth.., than linearly. Ooubl1 1no popvlotPon of o city and the conge>tion probably <tuodrupl ...

We con moke certain biologice>l predictions obaut population fot the next 20 or 25 y•ou. on d to some eJCt•nt for the nexr 50 yeon. We con olso make sorn• predictions about to<Mology in the ne>;t 1$ or 20 yean. We con expect targe-ocolt automation in c.•rto:in ktrMis of economic ot;livities; io derko• to:~ks at we-n Q$ in certoin manufocturing pre><'""''· A1>lomation wiN f<ee rn<>ny worl<en from pcniculot kiod• of •mployment ond will ol>e> fre e mo•y economic a etivitios f tCNn bein9 lied to locotiools doH to o >uitobt., labor •upply.

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We eon abo e~~;~ct that during the ne.d 25 years the United StatM' row material wltlshri~lc... rei<Jtivt~ to our reqvirement11 and thot there will b• o lfem•ndous dependenc.e vpoll foreign re~ources. This will retult in o eotre,pondingly 9'•ot increa!e in port d•..lop~~~e<>~ 1o hondl. Olld pethal" proce>t tt.. ..,poned matetiols. I be!ie¥e tl>ar ~. !he coom oloog !he Atlantic. !hot Pocmc, the Gvlf ond the Great tok,... will expond t.e..,endovcly as port-relo'*<l aclivlties expon<l.

We con expect on intens.e onention to be devoted to improving conununico1ions and transportation. Tttit rnoy result in redvc.ing the social cost of distance. Cloteneu to places of intere)t may no longer be of much 'mportance. A1 one preMtnt eJComple_, when Capitol Airlin•,. already Aie• Pit1$bvrghian• Ia New YO<k City for eveninv- ar the theater, it IJ cl•or th.ot it i, not necessary to li.....e within 1he bo\IM:Iories of that ,....ropolis lh;) enjoy its cultv<ol ollerin~J'.

There ore o!hor biological and techiiOIOVicol projection• of prel8nt trend• that we eon moke with a cttrtaln degree of occ-urocy (porticulorly jf we mointoin thot •r.c-ape claulO, "t>!her thing• beir>IJ oquoiH).

But one of the mO<t profound in•~hll we have gained throllfilh 1tudy e>f th~ p<esent and 1he r•c•nt po$t ls that humon oeotiv;ty Is 10 oreor, ond human behavior so variable, that we do not know how many inre,.,eni•g choices will olle.:r both biology a•d tech· noi09Y. let alo... 10<iol organizatio<L hen our body of knowr.d9e Is subjed to ~. sometimes rapid chonge. I fV119"$11hot what appeared to G-ge e>rw.n "' o heitlovs crime in 1984~ that of the re-writing of htuory io te-rm$ of the pr•s.nt, it o natural ond in•vitobte proceu. I think we COO$tontly rowtite what we know abovr the phy1icol ol"'d social en•irooment. What regord os laws today - of physks, of &conomkl, of psyehology - may and probably will be outmoded tomorrow.

Thu•,l predict that we can not predict tho future merely by extrapolating rh., prel8nt and in emergi•g trends. The •lrue!ure of -lety 50 yean from now and the llructure of our tilie> SO yearl ,......, now are -~y obscure to .,. even at this - • of the l8<hnc>lavy whicll will donoinor. then ;. ok<tody in the laboratory ond on the drofti•g boards. Net only ;, the totality of ehonge beyond rho o•o•p <>I o •inglo individ..-ol who comprehends ot th• best on& - or two - or three disciplines; but those new devolopmentt, when they appea•. triO&•• <>If othor previe>usly unprimod technological

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I om sayir>IJ controdfctorily that we con both predict ond not predict. Tempting thollfilh it may be. I am not going to toke thio opportvnily to predict specitio wd> os when rodteb wiU reach !he _.. and svbclivisio<>s .nil hove to be l.,;d 0<11 there in occordoi"IC& with - what, a •olar •y•tem plan? or when mile·hl;h sky>erop,.,. will be conn•t"ted with rood• running on rhe ocean bed.

Instead, I suggest thot we •ketch ovt the future by lookln; ot some of the moln choice• that to lie ohead. Tho woy in which the>o •ocr.tol ancl indiv;dvol choices are mode will offect oil of vs Ol orchi,.cts, city ptanners, builders. bvsin-en men wf1o ore it~-..res.ted in helpin~ ro produce a wortd in whi.;h peop1e want to live. By pteviewtng lhel8 choic... we may with rno<al lmaginalion, help to guide lho>e cho<e. in tt.e future by ""' ptflllftt And eve-ryrfting we ore c:loing now is, to 10me extent, tunk caprtal for the future.

Our maior ptMOnt decisions will provid• limiting cooditiom for outSelves and 011r child,en ond ouT childr•n't children. Fortunately,. we o,e b~eorning mo,e leMitive to rh• reality

"''m

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of 1M. Ao one exomple, lfle Coqn of fn;irw•• approoched us at !he l.h!ive"ity of Petv~sylvonio 10 crslt wt.cn cC<ldllianl wavld be lib it1 !he ne.d 100 yean because tt.eir new doms should la•t tho! lon9. In view of 011r ropidly chatlgin~j future pa!>e<M, perhopo we upect too long o life l<>r our build lnvs.

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looku'llg ot future choic:es C"A\Irn•' 11\01 will make th& fund-oft'l•ntol wrvivol choice of avoiding c.afo$trophic deprenion ond annihi1Qt;m4J wor. Thi1 moy be an u"· wotron1ed anumption, ond I om not an optimist in th&$4!1 mon•N.. 8u1 01herwise we must expect thQI wor would dostroy the world and depresolon would do>lroy il> instnution>.

Either cotodysm would leod to extreme outhoritoriani>m, which would meon that a few would make tho choices for oil, ond would doom the d•mocrotic society we presume wi\1 continuo to flovris.h.

If we hove 300 million people in the next 50 yean, barring wor or>d depres>ion, wl>ere will these people live? How will they volvo housing ar>d their phy•ieol environment?

W~l the preferen.~ for more and more COhCitttrotton into mehopo~itan centen continue?

Will ol those except the 1- people ""dod 10 prodvce food be altroeted to metrO· politon residence? Can - e>q>ee1 that 90 per c.nt of 1M poporlotion will "'""' to wet~< or>d live in this lashio<o? Or wil we disporw our people in so.o>e ot'- pal*n?

And supposot 90 per cent "-'ld de>ire to ~·• in concentratiollo. Wovld It be to the intete<t of the Unil•d State• to pttmlt whot is now tho preMnt populaMn of the countty Ia dwell in the >olid urban >trip from Ponlcmd, Moine, to Richmond. Virginio?

How would we cope will th• bvilding, land, traffic, privocy. gow:rnmenla) otgonizo,ion and odmini•tration problems thot would te>ult from •uch a settlement pon.rn? And how would we relate thil kind of density to the l•velt of edueotion, municipal servicM and civic amenifi•s thot w& continue to upgrode in otpirotion if not in actual provision?

And if we have 300 million people, will the my>terioua rank order of cities f<""'nrly obHrved. prevail? As you p<obobly know, there exim today certain mathematical rela· llon&hip> bOfWeen the $ite of tho lof9Mt cny in o oountry ond th• popuiQiion site of other citi•s. Thus New York is twice: os big 01 Chi~o, the s.econd metropolis~ ond thtH times as big a• the third, and down the pyramid of urban siu. II the New York re9ion rooci>M 50 million people, as it may -n do, w~l Chicoga 0< Los Angele> number 25 million?

AI wi>CII paint of poporlation conQOntralioft does Manhattan collap$8? Loo An90IM

...,.opor.._

"""'her?

Jvst where and how people will choa.e lo live is the ""'"' avciol of oil dec;,;.,... oheod of us, and Ofte thot must be ma~e before city planner• and archite<n con e...,.. dedcle where to tutti th'eit ~e~ieJ. My owtt inclino1ion always it that individual choic-es

sl>ould be honored unless there be some ~rridin9 a>pect of pvblio inter..t wl>ioh would be damaged or n109ated by the exercise of indl•idual choice. But in this oa•e. I think that we really do not know enougl, yet abovt tile impllca~ofts of diflerent kind• of popvlolion diltributior> and density to de,ido whether we should ••• th" controls of government. We con influence popvlotion sen1ement to o great ex1•nt by go'fernm•nt sonct\oM ond reword> - we could stop buildin9 highways in certain places 0< we could give tax of

oth•r lncentiv•s to indultriet to lotot4! in poniculor pto~s. These are ius.t rwo axamplet.

8u1 remembering my own conv•rsotions. wil h yo!jng are:hitecb and city plannen in

lttcsnbvl oftd 8&1t;~rade. ond enn o.lo ond St<>ckholm and London. and knowing that many of " ' - >toyed in th. major cities e•on th0119h career opportunilie• were greater in the unoll <iW., I conclude that prewntin; lh.o -opal;. of 50 miUion is no -r task.

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C..therine aa- in lou month's Archite<turol Forum pc,.ed por1 of tho oenl0111ent dfle-mmo for t 976~ 01klng whether "we wont reol citi•s. ood re-gl courttry - Gr do we actually prot.r tho vrban >prawl?" Hopefully we ore going to make this deci•lon b•fore 1976, le1 alone before the year 2006.

Closely bound up wHh th• cl>oloe of where to live - which gets crystalll1..d Into setdement patterns - is rhe choleft of how we are goin9 to spend our incom•. One of the ACTION board memben e•pe(lt thcrt the workero in his firm, which is a major wogeoetting one, will hove double th•lr Income• in the ne•t 10 to 15 yeon. The worker who now eorn> $.4000 o yeor will have $8000 in C(lnstont dollou then. He will be able to spend thot mot~ey for mOfe tervlce1. fer more 1-ei~ure, for b.n•r hovs.inv.. fot more tron,.._ portatic~. or for ony number of other consumer de1ires. How will he volue ho\lslng and hi.s envi.-o11me•U ill'l his hi•rarchy of de1lres?

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This i• one insronao in which I would not ~ to projed present tr....b. For have found that hooning ..,.dil.,... o - tlte past 50 yoars l>ove no1 kope up with the rise in reol income ... con>par..d to the e>q>er~::litures for oll>er Jnojor • ..,..,odilies, lncludi "'I food.

H we eJ<ped P'i•- ln ~ividual• to ""oul:ier the co•" of new and better housing and r&newed ond bo,.r dtio1, they must be motivat&:! to do oo. It might be poulble to have the two-hov,. family by tho ne>t century, instead of the threo-oor family; but if we ore to project present profetonce trend•. we wovld have to onticipa,. roefvlly the one-half hou>e family or the nol·>o·good hovse family. It will be the talk of orchitects and plonnen of our veneration to make the exc::•llettce of our hovsel anO our citiM so important that they will compete succenfully for th•ir ohore of consumer lncom• ood th• eonsumel' to)( doll or.

Possibly we ore eettin9 to thot stoge when we admii to ha>ting burn.cl ovr emotional mortgoves. Perhap> housing It now jull o commodity ond cannot be expected by right to demond o very large share of the fomily offediort~ onention and income. Perhops we will hove to cocnpete th....,eh a ll liMo mcu tned'10 to merchonc5oe .,.,. cili<!o and to .,...,_.. tMior renewol ond to -rlcet the hovse. within thetn.

I don't "'W.k thcrt - will ..,..,. o'" orchitect\Jrol on~ aty planning probl0111s .,.rely by spending more money - a lthough thot would help! II goeo without saying that even if the two·houoe fam~y does become o reoliry, it will make o gre<ll dec I of diffe.ence whether the two house• o re the suburban(or exvrban) home for th• wife and cl>ildren and the bochelor oportm•nt in town for the tommuting mole who 1\ot finally given up •unning to catch 'tho ~: 15, or the ~ity re>idonce for work-yeor family living and the conoge for weelc-enda and vocations. A cotnp!etely different urban deslon is implicit in lhese choi<cn.

Closely linked to wh..-o people will live and how they will spend their money and how they will value l>ouslng, is how they will spend their leisure. All lndi<ation• point to o shorter wo•k-week and there is current talk about the lour day w. .k os a to'llet for the n<>ar future. This is <Ortolnly po,.ible, for producti•ity, crt lea>t in indvstry, has been incre-cning •teadily by about 3 per cen1 c y-eot. hen wi-th the some numb•' of worker days, we ohould be able in 50 yean to produ.. a1 leo>t tlv" ....,., what we now produce.

But how io the new leiwre to be >pe<>t and wl.ere? W~l it be spent o1 l>ome, in the caonnounily, in trov•l abroad, or in irlcreosed corrmllllin9 time to worlt? Leil\lre choice> ore going to afle<t ""' urban and hovsiftg p..,.;sion> not only in termo of inte•nol cvltwal

and amusemenl opportunities whkh we will hovo to contrgti.re or dh.pene oc:ootdfftg to income and volue (hoic••· but also in tennt of lorve-scale res.or1 d•,..•'opment. _.eritaps we should completely devote entire ..:tions of our covntry to vacotionland - e.g.. New Eng!ond for the quaint and the coot Florida for the flamboyant and the warm.

With tl1ese os o lew of the major choice> which ore QOing to lhape the structure of our communities, whot should our present day architects: and planner. do to help clarify our future re•ponsibilitiM? For one thing, - >hould try to porlray lmplfccrtions of the future dramatically. One way to do this is through utoplal. The Qreat utopias of the post from Thomos More's to Rober! Owen's, to Jamel &ucklnghom's on down to WriQht's &roadacre City and Carbusier's Rodiont City hove captured on txcftemenl about 10ciety and pollorns of living which hove inspired ond intrigued and goaded us on. We ho-v• no utopio.s to in3pire us now - perhops e.d\ting IKe teems too GOod and we ar~ only d4scontented in spah and pieoos of life.

I ' "119••t hovr.,...r thot we mu>t reawoken the utopian trodltlon which tile architects: h""e been more •iliinQ to oc.,.pl CO\Irageausly than h~ tho city planners. Architects hove dored to I>+ uropion in th• post. City planner> have been too ptoc:lico!. Both ought ro combine lbeir elfon• to dool systematically but with enthutlasms with vbiono of tho

fvnlre.

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I su;IJM!Ihis p<lll1iolly so thcrt wo may be oble to motivo'-o the public to wont betler environments fo r lhetmel.e> and their fellow mon. By exciting visions of the future we con d ra.,..,tae. ~ft>O. h;ghlighl the pte<ent """'' ond choiceJ before us.

And in l<ying to "'"' ihe•pt~ of individual ond sotibl choices lor the futum, the orch>tect who in hil practice hm been oriemed to scrtislylng the Individual client without conc.,rn for the larger JOciely, Clftd the planner who ha> !>+en preoccupied with imposing whot he believe> is be>t for tho com""'nity withO<IS n>uch aware,.., of whcrt individual> want, will hove to meld their approochn. In training tu...., archmtcb and planners, we mus-t stretch their imog;"orions so thot they wl1t ueate oberttOI4ve erwirona mental solutions in which social and individuol choi«s moy llouriah and prolifercrte.

I submit tho! if we ot the Univenity of Michigan, al Penntylvonill and at the Olher institution> which teach orchltoc>vre and city planning o,.. to spork the dr.Oio discol\fent of our $h1dents 10 they~ in the next 50 yeors, eon answ&r Coth•rlne lcwer"s q\lest\ol) we must Qivo them a different kind of education. If we expec! them to choose reol cities and real country, we mu>l be able to tell thOtm what contHMe• tho fabric of each.

Instead what we ore leo often doing in city planning ond orchitoctrua! schools today i1 distres.singty okin to troir\ing moster plumbett.

The questions aro not just ones of how on Appian Way 2000 years ago bocomos a Pennsylvonion IVrnpike in the 20th century, ., o &ostan Public library at llle turn of the century o sterile cube on 53rd Slraet in New York 50 yoat1 later. Not /tow - we know tho!, for"'" are ptacticol men and those orelechnologioalimprovemonll. The unanswered question is ...hy?

The more d\JJati1fied my 1tvdents ore with my conchJJiont and 1uggested sotutions, th<1 greater conf\dence I have in them. If l mony times anompl doliberotely to try their !.Ouls, i't i' becouw 1 know we cot~ predict fifty years ahead on1y when we train men and women to plan and to build for tho choices and apporlunitios of 1976 or 2006 iMie<>d of for !hoM of 1906 or non of 1956,

A SYSTEM Of MULTIPLE DW£WNGS

dole svomefc St11ior T hc•iJ

A ;t..dy for the dev<~lop..,.nt oi o ,..lghborhood ..p,..1,.d os the natural functional g10w1h of o flexible housing sy.rem . The prlmory phy•ical o>pect is the opplicofion of a flexible hoWng sy.-, bosicoUy prelobri<otion, to o ne~borhood deoign. The cs.s.ign developed in thrH SIOQe$; 1. the ind ivid<.oo I dwelli rog unit 2. t~e chl•t.. of uniR in o noocl.tor 1tructurol r,....,..,.,.k 3 . the combination of cl..lr.-1 to c...ale o nel;llborhood The -iologicol objeclr.. wa~ the c-lion of on ~age•....,. ..eiGhborhood thoOOOQh the pro'ritlo<\ of focili!Mo for <01nplefe -;ol lnlwoclloft al all level. of ...,q,bo<hood Ule while 1111 pooviding fo< ....ying expre~~io"' lor 01oinlaining the idllnlity of the Individual. Thelo two Olpe<'S ware brought together in the lond...,.,ce-v,. paHern which pro;re...d from the inn.,_O.n._d activity pottern of the individual d-'llng unlh to the outer•oriented activity ponern• of the du•ter, ocrooa•. 1ub-neighbarhood ond the neighborhood. The resubing ocrogon..quore geome!ry ol the neighborhood pion mode pouibl• o <ont,.,uouJ pyramiding of Q'"" porlt-in...radicn oreos wi1h no ..,ehiNiar ttGffic pouing corn pl... ly through the nej;hborhood.

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The lowest level of differentiation is th$ dwelling unit. It is based on o wuctutol.modular frame

which, in different combination• con pro-vicfe o vatiety in size and number of

individual dwelling •mil> in a clurter. This frame is merely a ITonsitory element which can omnd thre• dimensionally. Ponellin9 i$ then hung from it to enci0$8 tho d"'ired spocM, either as exterior <ovrts or cloMd rooms. The e~eriof courts become visua' a\ well as ph)"lcol exton1ion1 of tile 1heherod living spoce and provide for o jo><toposition of octi•ities. '" ti'Ht diffetent areas.

6 dwelling unit>/clurter, 4 clontel'l/octagen, 7 oooeons/sub·neiehborhood, 4 sub· neighborhoods/neighborhood. At on overage family ,;.., of 3.4, the population of the noighbo<hood i> oppro~imotely 2,300. Tho not densiry in th& rosidentiol oreo is 6 lomilios/ocre.

While this project was de•igned with the •ingle lami\y dwelling unij in mind, ij seems lftot tho 9eomo1Ty con be used quite effectively with denser type$ of hobitolion unit..

Tho geometry should be loo~ed upon 01 a diogtommotic S<hemo which may bo warped and distorted without dilturbing tho bo>ic Ideo of the pyramiding Interaction or.as.

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TH£ AKHITKT CARES FOl SENSlTIVE RESPONSES richord j. neulra

Art i• answering, nor .,...ely speaking. Thi• is what in pasl periods gave to it powers of demonic intensity.

An a nswer con

be strikingly conYlndng only when o cleonout

qu.,lion hos been posed f\r>t. If on artistic creative problem i• undefined; not defined by a given sat of environmentol foctO<s, Its oolurion is as arbitrary as the call for it was vogue. An eq uorion with mony unknowns haJ no definiN 10lu1ion~ ""d.s a great deal of endeavor. of proceulng. of pntliminary re,.Ctch and clarificotion to make il first reedy for the lent stroke of solurK>n.

To grant "'"""" to hb indr.idolol WO<Io:, tbe ~sl ortbt11enius tAUSt be pre..r>1ad with a clrcum.,ontial constellation which will rno~e h.is work teem a conwindnQ, firting oniwer to a problem. k we ore "0 k>nger living in a lun;le of trees, nittety per cent of our physitol envitonment is ort.-foct and arehite<:tUf6 in o b<oad sense of the word. In periods of the past, when the architectural environment had hormootov& unity, it pres,enred o defined frame of reference. Von !yck. painting on oltor piece. knew beforehand the space choroctori<tiu of a cathedrol. its properti~s of illumination ut day ond night, the focal distonte from which his w<>rk would be viewed, the accompanying color sehem.e to s\lttound it, the emot;onol and lnrell.e<fu<JI frame of

mind of his oudiente focl"Q tile unfolded 1riptydh on a high holiday.

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When Q lew hundntd yeatS ~m

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li\e v - pairlted

easel pldur" not dei~n&d for o 9iven spot in a particular building, he nevertholeu was fully familiar wnh the gen<1rlc dhoro<lt< of a Dutch living room in tho middle of tho 17th century. His work would lit, whether Mr. von der so-ond·so or MI. von dar auch-ond-su<h purdhosed the pictunt for his home.

In VermHr's pidutK them~el~' o11e ea.n se• these livir19 quottetS

faithfully portrayed.

Contrast this favorable sitllot;,., wit~ th<o ho.rible uneortoinly of a caniHtporary ortiu, " - Qifted. who compoHS a p;oa. ol ort wilhovt ony ponib'- anliciporion os to whether ~ will be f>loc*d in o minion type, on Engrnh collage Of o Georgian living room, wilh o j obe imitation, iazz plodet, patterned woll poper or gypsum CIStrogols os competitive details all around it1 for o room wilh omple Hght" or dimme-d down with velou' drapes to mi~·Victcrlan

dignity.

He cannot anticipate onything. He think• of the burlap

honging surface of a sales gallery as the hoppiost background for his pitture. And there in the sales gallery the pittv•• hongs to remoin, never bought, not tempting any putcholoer who has a place to put it convincingly.

New archite<tvre. in me-U on art which does not imitote notur•, whtch is c primory e•omple of on obstra<' art - howev.,. most intimately Aned to h.,mon needs, pradical .....! poycholog· ical n<1tds - does am will proWde and - • space for rh<o planning and enjoyment of artisric ~iotl. I shoyld hope it wil fu< ni•h peocelul. even vaconl background•, non-compet~;.,e

"""*

I

I IJ

LYRICAUY EJCPRWED, A !I)II.DIIIG Of 1'1!0'1. l>tSIGN MM ANSWEl IOMfTHING LIICt A QUISTION AS~EO IY TH( StniiiG. II 1$ A lf$.0NH - ONlY THIS MA([l IT SHAll Tltt OlAOONIC POWU$ 'M4101 THE GENIE, THE S.lm OF Tift SHE, HQU)S, NO Sf~nsfiEO OUIGN CAN WI(LO THtSl !"CWW$ THE MYTltOlOGY Of MANY lACES AHO THOU$AH05 Of YEARS Mo.$ - 0 NATURAl S(m NO ty ntiS ~NO Ml.l lf IN IT

WAl ll THAT MIHOII$ SIACI IS ONE Of TO<( IARUUT IXrUIENCE$ IS If UtiliTARIAN Ol NAUTifUl TO HAvt llflEC'TION rocH? IS IT "l:OMFOlT" TO HAvt WAIU IYA,OilAf( ANO COOl lHt AIR IN AN ldtiO CLIMATf Ol 1$ IT All JUST A CHIAP WAY OF STou.GE ANO I"IGATION?

IS 'III<MS THt SO路CAUIO '?llACTICAL" APPROAOi A HANGOY!II Of ltrh CINTURY MATEAIAUSM, WHICH MAKI S IT HECIS$.UY 10 RAliONAlllt IVtiY OESI(;H INTO IOMil HING PRIMARilY ''USCFUI"'?

settings.. breolhing room~ sp.a<:e for the dynamic expiOJion of o, art oblect, or a1 le01t a speciat zone of ih influence.

A contemporary llyle of building and livin~ will fiH'ni•h that harmanlov• ond vnUied olm0$phere into which the arti•t can eompose his work wirh tome degrM of telf-ouvronc• ond sound anticipation.

The technical media of art pnodu<lion hove offiln b<oen borrowed from the game of building, ol fresco from ploo..r, Sumeto·Babylonian ~eulpturo from glazed terra cotta, l!oyJ>!Tan flat relief. from hard po<phyry. New architecture deal• with spun gloso, pt...ed wood pulp. blasted rack. tronslvcid ealared pla•lics, -tolkHokol .,;,acJes of 11oln1Ms ....rots, onadical plotlnsJ, metal

fn..,., rolled """ •xlnlded JMtal

tedicm, lnt......tly oto..l"'9 vacuum l\lbe•. hard ami spangy tubber, and a tl.......,nd othet item• of Inspiring material ;pecilicatiom.

The mo••m•nt of obstroct de$ign, for example, frHiy and enthusiastically helps itself from tilis treasure.

II e•hlblls perhapo the moll aifitmative attitud• toward tilese striking potentkJiitie• in new orchitectural 1paces and motetiols. and so It 11 opt to reoli•e the valves of a thorovoh lntevralion of contemporary art into orchit&Cturol background. Abstract design, he,...ofore "fr"u ort in the sense that it wat unottcxh•d to any taste of wider propo<tions, is groping for o brood ftome of relerenc•. which conlemporcry b11ilding must ond con wpply.

Such a movement is young~ ond still, no doubt, in an oxp~trimontal SIOD".

Like art in oil period> of tho pa•t, and pethap<

Is beMt wilh ~ danger of being chann~tRecl off into mere decarO!ian ami o tiring play ol fo.hion. lklt not only pointing, absii'O<I or otherwise, any and fl'l«y ort .._ -.ic 1o noore

10,

~

sculptllr• will be benefited by a hvmonitcnion, by an lrlaeose of who,esomeneu ir1 our daily s,e1tit1g which iJ the ccn1h'vcted en-vironment from the community and the urban ne;ghborhood,

dawn to lhe Individual abode. The minds of broad con1urnenhip are reconditioned by o doily expetience of a living archtt.eture and a perpetuol ••pa•ure to it.

Architecture ho1 b""n awakened out of in hil!oricol dreomllt. into reality. II Is now ltnloJaged in the planning and the realization of a contempor9ry seen•, iruteod of obandonlng 1hit u:ene to tho hazards of on industtiolizecl technology end a commercial exploitation. full of occident, 10und and fury. II such o new

wotld tokes shape. it will be o bener world for the or1s, and the math..- of oil of rhern - the art of living and of rofinin& human and aocio\ exist•r\CI. The contemporary architect can do more for hi$ fellows, the other orti5tt•, than many of them seem to sense ot the moment..

He sets o new &togo for them, and he con pa3ltion ond define ptoblems, so that o common and brood audience will awaken to the need for solutions In which true artists will hove their port.

What ore tl.o pilfalls which ntw orchitecture mll>l dodge to se-rve as we hope it will?

1t mu"t not be self-consciou1 se&king a new fas.hion of its own nery spring and fa ll Archittch"e gains confidence when t.oldiftg o promise 1101 only of structural but of psychological steodineu .,.. 011 omortbatian period.

It "'"" not overloalt its ,..;1~0<\folcl re!Goedness 10 the univw1ol la.nd:SC:ape which fer us reaches as for 01 our MmM readt - the 11ars whkh W!lnd their rays ir1to cur rwtina. the tun that oc'JiVQfes the lhermol senS<t recepton built Into our skin, lhe o~ditivo rever· betotiot~s~ th• texture~ which we reoch with ovr fi"g-ertips. h must no! overlook rhat thl• uni•el'1ol landscape into wllicll archiredur~ is inserted ol.o penetrotet through our skin, not anly biochemically ond by vibrations, but by the important foct thot we feel wi1hin our muscles_ the architectural steps, romps, or horironral levels on whitll we walk the r.silienci"' of o podded carpet or the rig iclity of a hearth of >late; we feel the o•ygen of the ojr svpply in our ~un;s - ml)t.t really all of o-ur inner being i$ stim~r,~loted by the dMign•r of our environment, the orc:hiteet,

tl>e plal'l ""'.

Artllileclure of the fvNre will ....,..e thon . - draw .,.. multiple engineeri<>g olcill•, but wM. "" eng;...,.. io concerned with pounds per square fo<>t and kilowatt hour., tile valued architect of the future •ill d•a1 wi1h 1he minute ures.s.e! and ttroins Oil o nervou~ 1ystem ond care for th411 1tored and ov•r· o('ti<te past c:onditiooif\gs of a human being, the innet bolan<:el and life proce..e• which he •o eDsily and innocently upseh with his structural and formal toying.

The public and the other ortills will in rho end rec09niu the Ol'c.hirect as not simply o pool' engineer or on enthvsiott of inorganic technology ond science fiction. He will ho•e hi• place as th• profeuio11ol ;non who know1 men.

35

,,

)HI l"-' MAHAL CALL5 /QtlH S()Mf Al$1'0H:II: 'JO A SHAP拢 SllliOU!TliO INTO TH~ ~y "WD THEN AGAIN REfl.ECIIO IN A WATER SU-'ACir $HA,l, $0 TO SHA~.

SANOWICH!O 8EIW{EN INIIHIII $4'ACE AIIOVI ANO IT$ IMAG! BELOW. JI'A~I 'ROM HISIOIICAL TRAPPIN(H AND SIYli&TIC SOUVINIRS FIOM ONI OUIQN TO ANOTHU. II SliMS THERE CAW tr A COMMON. 01路 NOMINATOR OF QUIT! A OII,.RINJ AND IVNOAo MfNIAl ~IND.

GlAnO

N<MITHI~T C~NU

O'CH•

lNG OROAO\Y ONTO MOUNTAIN•

SCAI'E. Ttl! Gl.O.$.$ 00011 INTO SCJtEH I'OtiCN AT un I$ $\II> A$10£. noM flU !ICitlN I'OtiCH ONE CAH $>tP ONTO A l(liAUO PAVIO OIJT$1()( $1111HG AltA WI<ICH PIOJ!CU INTO THE IEFUC:.

TIOH POOl $UUOUNOING TKI

..ouSE.

38

A REVIEW OF PROPORTION

rudolph ornheim

The intuitive pnx:.Oure has se<lou• d<owbocks. It is delicate, eosily dbtvrbe<l by oxtornol in1\vences, and its flndlnga do not offer proof to the intellect. An ob~rver's assertion that the 1hapo of on ob~ct is "good" (:Oll be confirmed only by exposing other ob:s.eJ"V"ers to the lame obJect wi1h a similo~r t&.svlt. Fortunately, th• _.mpler the poH•r" the Sourer becon'les the judgment and the gteo~r is the agreom•nt among ob!erYetS. lh• surest tesvlt it obtoined when wa eompare the 14mgths of Jines ct distances placed side by •ide. The olmpt.city of such a paffem of po<oUols il so strong !hot di>llltbance ;. almosr powerleu .....t dilogreernont negl'ogibly small. Therefore, II ;. mOll te.,pt;ng to reduc. C""'f'lu viwal judgm- to conobinotions ol thb >implo one. Here, lhon, we h...., the bogirmine of mecnurem~ by yordstid<.

There ;, oo difJerertee betwoeft the bas:it: oct of mt-osuring ond any other intvrtive iudgment. It is. purely Yiwo1. only dmpter and safer. Svt its opplication mokos for grove dill~renc~• indeed. Meo>urtment di>memben any potter<~ ond therefore mull be handled with eoution when it is us.cl to onolyze tt'le spatjal structure of o whole. Alto meow,.ment introduces numben into spatial felotion$ and 1\umben con b• manipulated abs1roe1ly without any reference to the object to which they were appli.O. Henct two rish. amply documented by exompie1 from the lludy of visual propor1iono. The roving compass, blind to the QO&tah quolitie~ of the- obje<t, uncovers. identic.ol distanc.s h•r• Of1d there, regardl~u of whether or not s.uch corr4!1spondenc~ ore bosed upon ffve structural co.-.nections. A scaffold of units Is upected to ptadoce on organiDCI wholt. Secondly, nvroben. obtoin.d by m.osuremen1s. are jug-gled obout indep•ndently, with arithmetic relaiions replacing the fortotten visual onH. Pyrrhk 'lictorie-s. of colcvlot;on OYH Yi.siotl.

Yet, abuses de no1 di>q<~al;fy ~ ond the persistent to ~nd the 01&oW<e af beouty has not remained without encourage.,.,.. Some •i.,..t mtOWI'M ore olniously related to visual~·· notably tho rotio f ,J, bosi> of oil symmetry. Mo>l >pecto<\llor -•· of course, the Pytl>ogoroan discovery that the perceived harmony of musical intervols ;, porolleled by simple nvmericol rot1cn of )patiol cllstonce on the slri"9 and the tute. This discovery - mode more sub•tontiol by our present-day knowl· edge of t~e simple relorions berween the wov• frequeo~'es of musicalscuncb-estobli$~Gd lor all time to come the conviction thot horm<.>ny dopond.O on spolia! meo1ure. When le Corbusier take• pains to legitimi:e his Slodies in proponion by pointing out that he comes from o family of mutlclons, he speoh in the same Pythogo<Oon mood tho! mode it imperative fof the Rtt~oiuonce Orchite<:ts to 1tvdy the theory of Musical harmony• ..,More than those th;rty yeats pos.t. th• sop of mgthema1ics has AO'Wn tht0\19h the ve;ns of my work., both os a11 orchiNct and poin,..t; for mu1ic is atwayt prttwtnt W"ithin me~>,l According to th• ~thogoreor~ dottrine, i5mple tuo~mbers und their mutual relatiOn$.

0! well OS the >imple g-elrical figurM that obey wd> _.,..,...,, rtpretenl tiNt infte<· mo>l ~cret of -ute. All eai>ting _thing•. eo<nplex as they may be, or" mode up of

_.,pi

th~ geometric building stones. Th• huno.an body, mosterwork of noturo, ~oon come to

be consideted the revelation of perfect meowre. "for withovt symmetry ond proponio.,/' says Vitrvtivl.. 14nO temple con hav• o measured composittoo; that is, it mutt have the oxoct meowre of tho member of o well shopod human body."" Once o• ideol humon figure, which obeyed tho demanded Jimple numerital meo1uromenli, hod been c:on· $1ructed, it served if\ turn to prove th• sonctity of the COtlOI'I: the law af th• cosmos c®ld be reacl eft from thot of the mkroco1m, Th;,. piece of circutor remoninQ hat moirttoi".d its power to our day.

The rotionolizotion of proportion, deWgne.d to overcome the: ~r.~neertointy of intuitive perceptvol judgrnent, witec:f the demond for scientific &)(OdMSJ, which oro~oe in 'lh• lltnoiucn<e. It •ati1flod the yeorni~ for obi-cti"" de1criplion ond yielded the ru;. governing tile bewildering tOtllp;.llity of things. It helped to make ort respectable by demonstrating th.a1 the shape of i1t producb was not arbitrary. And wherever the Ktent;flc ideal o"Ci procedure weake~ the intuitive powers of tfole ortis.t Ot the connoinevr. the crutch ol m•osurernent offered to replace the \lntrus.tworthy •Y•· At the so,.,.. time, the rodue:tion of shape to m&OWtem•l'lt recommended i'lst:lf for tho practical purpose of identifying ond roptodvcing a g"'en product. Mau produc~on d-O<'ds ttot~doi"Cfitotion, and 1tandatd sho~s. ore impradkol os lone 01 tftey ore not def"tned by meosu~1. The ancient Egyprionl u$-ed o netwQtlc of vertical and horiotontcl line1 to monufoeture stot\les of specified shape, ond io the treGtl1oe of V;trvvius 1he Pythogoreol'l motaphy1ic1 of n~,~~nb•f is transformed into o ~·of redpet~ designed to meet th• demallch of the imitative ROI'AOt\ •tyle of orthiloeclure.

It ..eems natural that o modern architect, oncfeovorirng: to revive the c:w1 of pro· porti~ 5hould in1isf on th~ 01pect of ltandardiz.olion. le- Corbusier is owa... of the te$ponsib;lity involved in odeding llandard• that suit tho lvn~ionJ of the object. Hi1 oi"' is: "To $tondardize. which it to tutl the ri$k of arbitrary chol:e, ond ttwe reverM of thot riskt o wonderful freeing of the method$ of ocenomic produetion.'r~ te Corbuller believe-s thot o suitoble wt of s1andorCized un•ts is offere.:l by his ''modutor," which he obtoin1 In the following <nonner. In the \l'rfnllrian ll'a~ltion, he ""rls from tne h""- body. He dMdes the total height, from the fe.,l to the hand of the vwticolly raised ..m. into two equal pam, at the IOYOI of the novel. and he ouume1 thot thil totol heiiiJhl is d 'rvided occorcfine to the golden J0<1ion ot 1he wriol level of 1he dowf>Word hans~ing arm (86: 1~). Similarly, the d ittancc froM the lett to the lop of the heod ;, also d'Mded by the golden Jection, in thb <<Me at the le•ol <M the navel (70, 113). Thes• two rotm or& ow:d os. the bo.s•• for two independent 'llqUel"tCel of numben, both m.eeting the condition of whot is known to the moth.omaticion os. tt.e Fibonoccf ..,..,__ Eoch element is equol to th• wm of the two precedint ones, an~ thr"""""ul the 18queneo neighboring value• roughly approach the propor1ion of the !JOld&n section. (Thu• the ratio 86:140 gi••• riM to the sequence . •. 33, 53, 96, l.t), 226, 366 . . . , continued ad lnfin~um in both drectiot».)

How _.u does thit Jet of Wl:e$ :suit the purp~e:S of $tondor0iz.otion? Stondordizor;o., demand~ that tM number of wni1s. empfo~ed be os unotl O$ po.sib•e and thot the unifl combine readily with each other. Tho flrst ccndilion Jtom• to be met by the modulor sine:• within ony ran~• of si.te the ftoUfftber of the proposed values is srnoll. ThYs fot the openi119 of o normol door the modul cw~ if I om not mbtok&n1 procticolly restric:u the choice to a breodoh of 70 em, ond height of 226 em. This would limit production ••verely

39

to only o.ne si2•. The comb,natlon of unin ;s mueh ~ess weH ta1cen cof• of be<:ovse only a "MY few ore mu,tipl•s of eoch other. Within e-ae:h of th• two seriet4' un1u. con b• combiM<I Oftlp by ontoDS of oheir ""ighbon. for example, oho !l>re. conliguo•" values 33, 53, 86 fio nicely oogether (33 + S3 ~ 86), bvt "" ..,ultip\e• of ei111et 33 or S3 match 86. Thi• weokne.., which follow• from !he notu<e of 1ilo fa--ci ...ie., hcs also oelthetic consequence,. to be ditoCuued ihortly.

Stondorditotion oims ot fociHtcrH,g 'he fundional relotio.u between th~s.. Sine• molt monokt(tuted obiecll ore Neither contoiners of mon or exte-nsion$ of rtton/' tney f"Ul1 ba- relo1ed fundionolly to their Ul&r. Of course. in on informal way, hovs.et, furnf .. lure, lool• hove alway• betn adopted to the humon b<ldy, but le Corbusier hopes oo a:tGndardize the-se rtra1iom, by derivin9 his scales fron'l lhe main proportions ond dlmemioo• of 1~0 body. Unforlun-ly, ho....,ver. the human ~gure connol be stondotdired. ond ""•• the 1101ure of ony populooion i• diotributed smtinicolly in o bell·shapod c.ur¥e, it s-eems ludkroVJ to tpedfy riM refolion betvreen man and hiJ obie~ to the fraction of on inch. In foci, le Corbusior wotked with o KOlo cvslom-tanored lor on overage 175 em. f,.e-r~chrn•n~ ~Jt\til he remernbered "'thor tn Ef\Q~ detectiYe ncwefs .,... ttood ..foo~ing men, -'"'Ch os th• policemen, ore otway• ,iJc: feet toll.''' SirKe the moduror is m•o"' to apply to world-wide production, ohe invenlor telllod for 6 fool (182.88 em.), exptaining that it would be btttef for a measure to b• too forge rother rhon too •mall, "10 ohat the article made on the bosis of that meoJure •hould be •uitoble for v<e by oil" - o.n orgvmant unlikely 10 be opprecioted by the 'mollet specimen• of mankind. le Co..bvsier'• imistence on hi' p<utjcujor ''-ale bec.omes undernandobte if one ignot'"et "itt. pteteiided func:tionalbm and Querpr'-'S it instead as. c romantic variation of tho Pyfhct(IC>t~o philo!ophy. The lrodilional dodtW>e of Pfoporlion related orchihtctural •hope to man becouM hi• body we» an ex0111ple of perf~. not becouM he wo> to live with the building. The orehitect wos expected 10 create in tile imago of man, aMI therefore th& relative proportions of the model, not ita: oluolote d imemiott1. wetrJ con.

1kferad. Whefeos. in 1hb vlew, mon, 1he c:hild of ootvre or God, re¥$oled lhe M<tet of cosmic harmony to ohe builder, the more "'"'"' theo<y of empolny vie-d tho human· izo1ion of architecture os. th• meOil) by which man "compels inhumon natufe to hlt need."4 A 1tronger in o chaotic scning of planb, stream•, ond mountoiM. he creates in con undotston:l; ho "Iron· his building• oom.,ltino of his own kind, ord.,.ly ,hope• IICribM ;, sooee tt.e body's favorable lta!eo''.-' 8011> theorle. Implied o division between man and h i• wcwlr; tl!o fillt !.OW man 0$ ohe model 10 be contemplated and copied from o dillance. tho "'cond !.OW tile boilding ""the retr>Oto object of sy..,pothetic app<eciotlon.

Tole Corbusier, man and the world he builds ore on "'diviJible unity. Jull "' man il on outgrowth of nature, so the buildirtg, the furniture, mochine. riM painting Of" sootu•, O<e outgrowth• of man. The buildet ond hi• work are int•rdopondenl like tho snail and itt 'lheiJ. Mon •nrorge\ hit tcope by his workf~ and the 'WO(ks rece-ive the•r meaning tram his vut of them. h follows from rhis fOrnontic: view thot mon ond hit creotion mv)t be conce~vM 01 ol'le i-'1~roted organitm. Hence le Corbvsier't prefer•nCft for th.e go1den wc1ion. which to hij fotbeofs wot the eu.ence of cosrni' mathomotics, ...,1e 10 hiol ;, ;, th IO<mulc of lila, diKovoted by scl•ntist• in the body •trutture of plano and animal. Hence oloo hio two pt'OPQ<tionol MtiH, which embed oh• human bady in o conlinuou• ><:ate from the ;nlinit.Jy ..,oil 10 the lnflnltoly la.._e, pteMnting mon as noturo noturans Olld r,ot&HO natwcrto.

no

•h•

This is on eminently modotn phii<»Op!>y, well wired Ia provide our biologicol outlook with an oesthotic suporstru<lure. But it is o philosophy - applicable to the arts only if it ouumes vi,ibl& forll\. The reo:10ning mind may find coherence and <:onsbtency 5atis,.. foctorily symbolixod in the orithmotic propeme• of the modulor series. Art> they equally evident to the eye? Obviously, tho virtues of tho system must be teste<! in prot~ieo and con hardly be evaluate<! in the obstroct. Only a few genetal cons;d&rations con b& advanced h$1o tentatively. · lf one porti<tJior rotio of 1p0tiol distances is to be choS(Itn, th$ go1d&n s•ction oortoinly makes a good candidate. Art hi•torian> and psychol<>l!i•l• con testify that the eye distinguish&S thi~o porlicule~r relation - in the twofold sense of recognizing and pM~ !erring it. Similarly, the ratio 2:1, introduced into the modular by the fact that tho values of the one series ore twice as larg& os thote of the other; is eo~oily recognized by 1he eye and con be put to good visual use. Continuity, by which o seties of steps leads tho observer from the $moll&r to the lar9&r units ond thos help• to knit the whole structure together~ is o bosic pr~t~quisite Qf oil ortis.tic oomposition. To reoftirm Ol"'d ~ify it. with explicit inclusion of tho human dimensions... ~em~ partkulorly welcome in view of o modern preferenc~ for "monume-ntal" buildings thot make the vis;tor feel lost like o beetle in o cigor box.. However. Le Corbusie-r's orithmefi<: proeros.sion of values does. not gvorontee continuity; it merely lvggest$ it. Since it remoiM for the artist to p)ck from 1he Koles the voi.J$1 he wi!h~ to c:ombinef he $till must rely on his intvitive judgment for obtaining those unbroken choiM of telotionships 1ttc11 produce th& unifled Merorchy of any goo:! composition. Within reach of 1htt two seriM, only the contiguous volues hov~ a simple relot~nship to eoch other. The more dbtdnt ones have not. And os for os the relatioM between the two $erie$ ore concerned. eoch value of the one hos the ratio 2~ 1 to its opp0$it& number in the other, but otherwi$e the re;lotiom: between members of the two $$'riGs. ore fer ftom simple. For exomp1e, l• Corbvsier picke;d fOf' a cornentone, d&signed to symboli•e the prin<iple of goocl proportion, the rotio 183,86, one value from each ~ries. No Jimple retgtion between the two i• opporttn1, ond if th& re;suhing shopo "posse,.ed dignity ond .,legonce.'' thi• doe> no! seem to be explainable by tho fo<tthot both voluM lie somewhere on tho lwo series. It looks as though in le Corbusior's systom the hormony of the composi1ionol whole i5 pie~d together by o creeping sequenc:e of concords between f'leighbor and neighbor, thvs neglec;ting thEJ cros:5·connedions of distont elements. A eomparison, which may or moy not be oppropri<:rte. will <Jt leost illustrote lh& point. The musical .cole provides for the unity ot'ld density of the composi· tionol fobri< nol •imply by equalizing the intervals b&tweon Mighboting steps. One does t'IOt have to walk the scole in order to c.onneet one ton& with onothet. Any two tot'\~s ore dire<tly connec.ted by more or le14 simple auditive ond arithmetic tO'Iotionships. ond the varying d~ren of concordonce make for o rich paleHe of expntssive 'lo.lves.

A1so trCin$pO$ition of pitch - which moy be cCutlpQred to the transposition of visuol size - produces pottertls thot ore reloted to eoch other not only by homolo9y, that is, by similarity of proportion, but ols.o by o comprtthQnsible harmony betwe&n eoch tone of one ponern ofld each of any other. Every ton& of the (..scale is directly relotabfe to every tone of 1he D~scole. Not $0 the vcaluM of le Corbusier's two s.eries.

The publication of "The Modulot" roises og:oin 1he more gen&rol qvestions: Is the-re gny i•ntificotion for opplying measurement to visual proport~n? If so. when cmd in what woy should it be applie~? Not for very long ~"' thi• svbiflct been controvetSiol.

41

42

tn all odvonced civiHtotioru of1i1ts an:f o\h&r crofttman se•m to have felt little hesitation abour using <>II the faculties of th•lr ml~d._p•rceplion, intuition, rhinl<ing, calculation wherever lhey served lhe purpoo•. The leor ihol formulae mighr i,_rfere w>th the fre9dom of the eye d•d not come up os long o' the eye wo' 1trong. Onty when the-te wo' luspicion thot <:alculotion, instead of the eya, wos being used for tas.kl. that requir•d eonstont ond hnol vfsuo1 cootrol, d'd lntt=llect and intuilion come to be viewed e:s ontogonills. Neodlou ro say, no fully developed arti•t has o..,r been provontod by sud> contfoveny from using co.ncopluol thinking to thorpen his intuitive gen•rolitotions, to cost them into l•u per••hoble thapa1 ond to moke them communicable. An~ if thei'O iJ no objection to ..,okiog o tn•ntol note of th& fact lhor.. soy, "btue recfldas ond red cdvances.''" there 1hould b~ none to the rule that 1he golden section creates o good ptop:ot tior1 since the forrner sto:ement lt no les~ intellectual thal"' the Iotter. the problem is not whether or nol cbstroct optrotions ore applicable to th• atu bt.~t whether those thor invoJv• rwmber and col<:v[otions ore.

TIMo objeclion con toke twa form>. Either the odvenary may say: "It is po>Sible ond perhaps ~kely that simple crllhmelic or geomerric relation> ore ot tbe bottom of all viwol houO!On)'. Ho_.or, ll>e search ror such formulae should remoin o hobby ror the theorU.t. They ewe hortnful to creottve work becovse the an•st con crt?Qin harmony by intllilio<> only.• I ohaN consider rhl> ol the objection a prejudice, bosed on fal"' diohotomi&ing and refvtod by >he onlstic pro<liciO of ohe centuries, particularly ~~ orchi· tedure, which b7 "' wtry ftOtwt invofvM comtont ~c.svrin{l Olld figuri.ng. A se<O~d kind ol objection dew• nat question tiMo procod.,.. "' sud> but prot est> against tom• woys of it> a pplicotion. II roM• the bosic question of ..tiOI in tn. rtoo.,..e ol the thin9s ,hot ore meo1vr•d iust•fi•s mtot.ur~ CW'Id which ~rtds of 1111eawrem1M1 con be shown to be rnore opproprtate tho A ori\en.

It is uW!ful to ro>formuloto tho quesoion .,. follows: To what e>rtent are tho~ of rationalt.zation ratlona1? The term ...raUonol,. o~ &lie~ here doelo not -eort what it nMO.U to ttte mothema1iciol\. 8y "rotiortolilyOI I mtton the extettt to whid\ tt.e ~I ttrUdt.N'e of o porrern ond tho pori> thor make ;, up ore •implot, cloor cut, idenrihoble. If. for instance, 1he ten;ihs of aU the part\ in a given potte-rn ore mu~1iple$ of a g tve.n unit. tile pattern i1 fully ratlono' '" term' of 'uch mea\urem•nt, This. is. one ldnd of rottol'lolity. bo..ed on meo1urement. There is another kind. ba$e:J on geometri( s.implicity. A pon.tn shall be called th• more rolionol, rhe simpler are rhe 9oomettic relatloosh;p, by which it c:on be defined. fn thic s.ent& the relation1hip of a c.kcle to tts d~omete-r or of a ~queue to U• diagonal Is highly rational, even thoueh in both cos.• the algebraic roti<>• lead to infinite fractions. T~e qutllion is, then, to whot extent ond in what woy visvol objecb coo be reduced to rationoHty. fn the hiucry of ort both criteria of rotion~;~lizolion have be•n vsed . On• il bo\ld on meosureMents by yords.ti<:k. tn its most e1emel\tory wersion it rttlies on th• slngle mcdu1e, that is, i1 defit~es all pam ond retationships os mvhipfes

f.,...,

of one unit. This procedure, as we 1holl ~&e. afford\ only a minimum of structural under~ stondin~. The opposi'• method of measurement starts from above, rother lhon from

below. by defining rhe parts as froclioos of the whole ond thereloy moking the whol,., os it w•re. th• module. For instonce, in Vitry"ivs.' onolysis of 1he humon body the heod Is 118 of the total height, face and hand• or• 1110 eO(h, lha foot is l/6 the cubit 1/ A., and so forth." Here, thanJ are utv•rol difterenJ unih of $Ubd~vi1ion.. pointing perhaps to o number of dift'ere"t 'truc:tural l~.,.eb. on:l thvs repres.e.nting a sub1rer ona~YJi$ thon

the uudely equalizing technique of the ~inele unit. At the sornt time, this loK•• proc•clvr-• creotes, ot f"- own prirni1ive level. a unity ihot the more t-ot'ftplex one locks; f« the meosure.,e.r "from above" relate• the vatious subdivisions ol the bod~ ooly indirectly to each other. namety by tMir refet'eftCe to a comri'Ofl vd1ole. w)\•reos 1he reJation$ between tMm are fte'Qfected. It 1$ Oi thc~h s.everol incongruou~o networh hod been superimposed vpon ttwe wrne pattern. In th-e some o11olysis in whtd'l v;uuv;u, Ules modvlear rne<J$U>'Cmenl he also opp\io• o fundamentally dillotent method by pointing out thot tho body with oul!preod limbo <on be in1cribed in a circle. Here tho p tocedore is g•omotri<. llotiona\ity i• obtained r>ot by opplying a linear yardnick but by Stting tho obie<:t to some odutr limp!& shope. Geometric planning with the compau Ol\d 1he ruler was proe1iced by the mediovol ma•ons. Whll• not e•dudi~g the yor<!lllck, they freely proflted frorn such incommeos.11roble r1lationt os that bttw•e-t~ the circle oMI itt diorfteter or that of tho 9olden se<tio>n. lo Corbutl•r'• modular ,...,._,. on un<0t10fortoble '"""'""""" botween !he two mttl>od•. lleiAg bcned on !Ito golden s.ection. it i> by nolure ;eomolric. 8ut all rotio>> or• rromloled imo ""mben, whi<h requite> o rounding oil of the inflnito ffa<lion>. 8y 1hit. artifice a g•ometric principle of structure is forced into orithrnetic shopt. An even mor~ Jerious om.bivuity h introdvced by 1he fact that in order to obtoin o continuous sequ•n'e le Corbu1ier used the Fibonac('i progreuton~ in which th• r•I01lont between nei9hboring unfh fTitonder towords the 9olden $4ldion but ore nof identical with it.

Th-.1s in the twHight of arithmetic: opJXoximatioo t-wo different structural principles - ortt" bos.ed on odd!Hon. th• other on rotio - o,.e mode to fit ecch other.

As a >yotem of meaourement, lo Corbuwr'• ocale ;. a topi>U!icoted vanot;.,., of tho modvle pti~eiplo. lntleod of koepiAg tl>o me of tf>e unit <Of\Stonl, it in<r.aw• ir ;roduo11y ac<ordiAg Ia oA ordhmetic P'011'0Uioft. This procedure - o• wo• pointed out before - tir*b rationality to conti9uovs units ond mokes di:Stont o"es incommeruurabJe. h shor.. with moot of the other •yolem• the weakn•,. of not doinjl ju>lice Ia the Integrated s.trvc1or&s of o whol• pottern. in whkh portl or• directly interrelated even when they belong lo very diRerent •ize levels. ln>tead, one might say, it merely troce• lin•or poth• of rotiona 1ity throuQh such p<:ttttrns.

I. U COf'bWl·~. Tlu Mo.lutar-A Rw~oniow MH.J~rt lo tlte Hvnuzu Saale Uniu,.,.lty Appli~ 11W< lo obcltii~CII•rt ontl M«hanic.s (Cambri4gt, M(ll.l., 19S4), p. 129.

2. Virru~iw Pelto, Tit~ Tftt Boolu t~u .Af('hiltt'hn·t (Cambridge, Ato.ss., 19lf), bc>()A Ill. 8. l..e Ccrbwi~r, p. 107 • .C. C<o6"1 St<m~ Tht 4,.chiucru~ vi HvnU2'11ilttt {Od"NUn City, 195-f), ,. 119.

5. S<Oil, f>· 177. i. Jlitnwitll Polio, loc. rit.

Reprinttd from TAt Jot~rttt>l t>f Mll~etics o~d ..br Cr;bcitm, Vol. XIV, No. I, Septe<Mn, 1955

INKLINGS:

1956

james e. I. eldridge The merit of ni&ht i• pallor. lhlngs oro more than they seem to be. doceivin9 their own mea•ure. Nothin9 i1 declcltd at night; morning •• lor conduslon>. The comploi•once of day ;, awe<Ome with night's complexion.

The odvanroge of th& sphinx Is secrecy. Scrutable thing• hove no charn>, but frogmen!$ hove outheRticity, patlna, and an tnl;mo that inoculates. the ob•rver with imagination.

The most earrutst impreuions slmp1y occvr - you know not how, or whot co..o.rdination It ;, that makes you respond. II I• not necessary to k,.,....; it is enough to be alert ro their oceurrences.

The orti$1 mu$1 hurty, only aware lhat &peed it tympathetic to occolMariOD. So many things to occur and s.o many c.hoiceJ, tftot ew:ry decilion becomes o WJCriSce. Ccaw:J[ier oction with vigilance - to thi• end, he mull ollow wontonneu in his techniq ... lmpuloe i• the natural woy of forming. To put the t~ing away ,,..,. the mind end allow probabilities. to occur freely - transformoti'on1 and never CMiainlies. lhf.s i:~ the course: the blurt ond then the opinion. Our mollveJ como lr""' •poniOneily.

The h\lmon "llo with firtt encroochtd by art. The first ""age wos on advent, embodying d •pecial state of oware.ness.. lec.au:s.e .,on"s f'Wst vocation wos odion, a was an imoge determined in execution. He wo:s ftOt ~uippecl with motive•, but acting if'! tpontoneity, he di>covered hd vonity in tlw. image• he formtd, And •flll. art cannot be plausibly oped.

A lover describi<lg perfection• thai have enflamed him - the artist, yes. But first he mu•l locale lhe<nfree 10. There can be no cold scrvtiny of thi> paS>ion. Intelligibility is liw> obviws saetifice a free artiJI mu>l mokt. At the "ort he must cbondon intelleCIIIol dolO end ju<lgment• that impede the ••hllorotion of natural responsiveneu. The mind

""'"be

Must

be swept for dired tron1actions.

Then_, Jhe ideo i:s to ofli1iot41 with the medtum - to become acqvainted in tovrney, the medium with its obstinate will and the orllol with diplo.notic subt.,..luge. Any premotu•e offempt to forte the imag.e resultt. io on vl'ltime'y bifth.

4S

I

1

3

/

..

I • ,(

~

,/

I'

'

The orll•t I• ne~her mogicion no• modmon; art I< neithe• hollowed no• hoax. aut we blame the artilt lor ou• lncop<~ciry to absorb his document of human experience. "Th01 he should hove rhe eflro""'ry to present u< with oomething •o unpalotablel" Thi• l> hoUHify, bvt wlthovr o~Svronce. We su'Sped th.ot someone e'se undentand~o what we cannot. Our appetUe• ore too r<Jiional.

And there'• a paradox. It seems that nothing is more welcome than novelty -but ao,..lty •irnp1y 01 di••nion; to excite surprise without awakening imogination; .-.qUiiring 1he sllghl<l•t s.lf.exertion; to transit rapidly and pan on to t!to next thrm. ~ .,..,.__. ore •u•toined by thi• · condition, relentl..,.ly tlvowing up banner ""i"" CMd eaudy pondernonium1, fan"~"V wh•m' into bti•f pCliSioM.

envir-.

aut we ore not ao inMip<lrable fn>m OUI' If Is, after ol, ecuy to o>Sert thOI thrill con•umption I• n<JI the chief r - . . - ol ""'"' ol>d lho1 ~ndising •y$1ems do not corr.,poncl to the wonll ol octuol lh. It ;s ~ 10 be con1cious of o •light insanity in it ell.

Ther• ote ~.,. t.umo.n feJOWC:fl which give more ~ame1t impreuion,. .Art is the most elemental It •till petfonn• the >ynlhetic function - cotr«ol>lno. muhipl., in o woy More •'-entolll>an c - a r y C< del<ription.

w•r•

W• ~~tay bet'-w rhat ,_. it~,et~ded f« lener cor.diiions - simpre,. aevere,. Umited obje<u to become occvstomed to. But experience will always be chaotic, with no ouur6d time oequence. HumonUy earM U. nome by making clispcoitions out of the fortuity of lae.

The Qtt;Jt cannot by words, orgar>iu a< cblfy hb picloriol inluitiocn for tht ooowal -pllon of the . -.... And h. h... o jvl1ifltd t.or that ~ '"" CMIIy dlst,C,onl hb work. Bvt tho octlst should hovo the pawer to thU.k of what he dcet. II is not onau;h to be the aQont of somo trontmlned good or ocquir•d do...,rity. Ahho.ogh ht functions 1(1 show oppeoroncts on~ not to corn,.nt 0<1 tnem, he should ottempt explonaliotot - but - ni~dly t"fflonclliom. Hit OO<Obu!ary .....t bt plastic enou;h to room. "*ophooically mono ...oc9o so male. the • .......,.., -dinory. H. will nt- bt - - " " ' in -dline for the word. CQV'*" to his paW~o>e- but -P'ine ella~ the '"-er's pt;,..;. 10 his own hontv reocllom.

A pointiniJ demands the vi...t r't c..dulity. And th• viotw••· auuming his armor of ,.,panolbllity, demand> of tht poindn; ib utility. "Whot doe> it meon?" Tht answer con only be lodged with the v~wtr. Thero 1• no ont con•wor. One million lnttrp,.totions will not dtprodofo a. A pointing Is inoxhavstiblo. Thit voty olu•ivenen it ill humanity.

rJwrt

#rom a l«tu.nr at (la.i"e,Jiy of /tfldupn

lh~

Colltp 01 Atchitt<tun oa.d Dtlfp,

1 om CH• orchited. not on engineCN. I wo1 ~ as an orct.itect only. Hovrtevar1 ir '"'"' today that not Oflly ore ouhitecb auppo~ to be incapoble of designing ,,.,........_ b<.ot

50

INTUITION AS SYNTHESIS felix candela

thCif h 11 ind..,d rather dvblous ethics wh~ they affampt to do so.

In the past this wo1 not the eose. The architect then was the Ma11er lkl~der. Anything that was necelle>ry fo. tlut building """' designed .,. ordered by the architect himself. Hio province wo1 supt•me. h t some rwo centvritt ago1 with th• odvent of the indutuiol revoNtion, thh profess.ion of Ma,ter Svilder WOJ divided into rwo comple-lely s.eparar. fiekk. "'architecture" CII'KI ,..engi· ncHing". A wide cho1.m retulted, o e:~ 1hat exi~ts to tf.is day.

ood one that nobody 149ms to have dored to brid9•· Now I believe that onyane who hoi tho cauroge to affempt opannin9 thi1 ch01t0 may r&C>p a ~ul horve•t e>f suc:e...

Apporently, believing no o.chitect con de1ign >1r•<l•res any more, people hove oHributed 10 one !be ability to build pretty complicated , _ , . , through o proce" of pure ini\Mion. Oh, that this wete e"tWety true! lntuifive ~" fs o very iJIIIteteitint propc>sition, and pethops, it is !be only bosic way to detign. lei me tell yov who! I undentand by intvition and "intuitive de>ign~. We are, I thin~. in the end pha.. ol a period in !be hioto<y of men when all tho ,.,.., has boon laid on analytical mothodo. w;.h !be invention of higher mothematlu, it ho> become <Ommon proctice to utilize thio in ""Y problem at oil: at flme• thi1 hoo even m.- l«ting tho probl.m in order to 10lvo it by a malhomotlcol method, and comple1ely ignoring lbo mony other woy• it might be sol...t without malbOfiiOiiu. I hope this ero of ob,.nlve analytical opp.ooch i• near to its deolf>. and thm con begin a new period when the synlbesiz.od d"iQn <>f things will popular ond the common rule.

I really de not '"" hi)'FV ""Y doslen con be ladtlod by the anolyticol method. If you are goirog to analyse """ethlng, yov

b"'"""'

mus,t hove o ce-rtain bose to work on; now thi~ bose cortnet btt raodlod by onaly>i>. but only by wl\ot we moy call o orndtoti< procen. This is pteci..ty th• difference betw•en . sdet~ce ond art.

Science goes on onolys,tng until it attains on uttimute por1 of the lbin9 ar>alysod, but ort, the synthetic procen, pools many thir>gs 10gether 10 CD to gel the e:omplet. vision.

51

Nearly all engineon •eom to beli..,. that struclurol d..igro '' o science. But I om convinced thot ltrveturo1 d6s.ign, a' ony other design, is. ond always hOl be&n an ott, What happens when 1<>moone doligns? I am not o p•ycbolo· giJt, of cour,., bot it is o•idontthot !he sub<:onsciout pl<>ys o blg parl in the prcce••· The •ubconscicus help• •• to <eloor.e our mind• fr0«1 ~ny inconveniences on~ lobours. If you are a1seui11g th• htl;ht of ti>io pinlecl pogo. fOt exomp,._ yov o<o in fact .aMng o 1moll trio1>glo formed by two vl>uols coml~~g 10 o pcil\l. You 110lvo •imilar problonu e.ery l imo by vi•uali•i"'l well o r.iongle.

You don't do this task io three or four minutes

by mathem.otkot

analysis, but i" o froction of o ,.cond by sense. You ore solving thil kind of problem every inttoot of your life, or else yo~t would be unable tc climb stairs or walk through an open door.

The •ubcon.cious part of our minch i$ continucdly performing lOt our benefit like thi•. When you look CJI o •hope, for example, you can ........, actually hove mOte tlto n a parti ol •lew of the object you,..; so you immediately get a ••ry distorted impre•sian of the object ihelf. You ,..,., tramforro llli1 Yiwol impression and reconatrud it s.o thot you CO'I'I imOQine seeing thi1 objec1 &om on

pc;ots

in spoce ond time tinwltaneovsly. Thi.l ;, another, linle

mc>re complex function that tile sub<:aMCiaus •owlertoket fO< you.

It quite literally keep> yov olive, •inoe breathing is only a consciou-1 action under the ro..-elt <frcumstanc:es-.

When you drove o cor for the fi"t time, you probably found i1 o diffi(vh to&k., bec:auao you were too con~eiou' of the operation

and it hord 10 synduonlre all tho godg•"· llut afler a while, when you had learnt, It became timple. You perfotmed mechan· ically.

You rnoy so yth<>t the"' ore only muteolor funclioM. and that the1e is no inlellec1\IQl be.,.f;t from tl!o subconsclou•. But th Spanish philosoplo., Ortego 1 Gcmet pointed o"' that tho W<)rd asceticism wo1 deriow•d from lhe Greek. ode.JiJ. tr, oncient Gfet.ce. this word deocribed the aystem v•ed for the traiftir>g of ot~l&let; ft meant th" woy of tile of the athletes. The •ome W<)rd. o•k••is, was adopted by tho monks of th• Middle Age•, and it come to signify the woy of life of tho brotherhood, the means to ochie...

Holintt$j;. So 1h• tnonh recognised tfter• wol o vrtty reol con· Mdion there betw"" the troinin9 of the physique and th& mind.

How,. then, cor'! "'-• mind be.1ot be t.rained 10 perlorm for v$

subconsciously in intellectuol operation< o~ well o~ in physlcol on•~? I would like to qvote Polncore, the French mathemoticlon.

Poil'acore iOid thete wos o stondord proc:eu lnvolv.d irt fhe soll'irtg of a knony probiOftl, The preliminary po" of thi• procen «>A· •illed in hb leam'n9 as .,U(), '" possible on aU thing• ,..,lated to the probleno, and feedu.g hb wbcon>ciou• with all thi> data and m.....,.i>ing all !he impar>ant things. This first pa<t onoy toke an awfuMy long time, and of course it depend• entirely on the of the it~dividuol to per>ist in thi> boring pha... The Mlcotld

J'OY'••

pott of this proc•s.s is to c:on~~ntrote within o very shott period of time on the special problem. If yov ore unable to And the

$Oiutlon, you moy woit, ond the subcon1<ious port of your mind conrinves to work fot you until ot1e doy you may find the eot,.ct

aolutlon.

I believe this io ouentially the only way to approach dooign' to know '" much a• po,.ibltt of tho problem you c>re intere1ted

However, I am ofrold thol o groot many orchaects today hove a very dil!erenr view of intu~ioo. They seem to think that anyone who has a slight feeling lor Slrvctv"' con ooolly project a form of any liZAI

Of

spon without hoth&rirag with the boresome

mathernaticol ~tuft. lltDV• th11t to the &ngine&rsl Unfo,cmDtltly, I Wlust >ey I con thlnlr of no '"ally ¥ilal drudure in the hi•tory of O<doileciiM thot emerged from well a procod-..

If you are going to build o really logicol. beovtiful omp1ri<: >trvcture today, yo~ mu11 follow th<o some low• thot hove vov· ernec:lrhe proceu of creotive design sin<• the begi~~lng of man. lm";t;on~ when it comes, will be the *"d te.sult of yeors. of constont dedicated •rudy to cons"u<rional problems. lntuirion is syn· onymous with expHience.

However, despit• th• c•rtoin omount of toil in ....olved, a belie"e

in. ond in the H"cond phose to e-nter into on in-.nsilfe pho:u~· of

that architects ohovld once o9oin devote rheir en&fgy to rhe otudy of eoginoering problems, bocauso only wh•n they do thl• wm 1hey Scnow one• mote how to cOnceive luch wondMf<tl

conc•ntral;on.

5tructvre$ thot the "ew moteriah. and methods of our time have

Tt-.is sy"etn is whot I undou.,ond by "intviti~e" design. lt is the one I rry to vtili>e wh~n I d~sign nty ••ructur••·

mode pouible. T"en they may become once more, in the truest $o!'rt:S.I!', M.a:stet Bujlden.

PATRON SUBSCRIBElS

CJ.arltJ N. Agr.. f4seph F. lilb<zno ]. D. Annand Francis 0. Bartl<!/

W D.

,u, I. &nntte J.

Bergsma

Keat~tth

C. Blad

HenryS Booth Geors:• BriP,.m F. A. Comptor< Frauuco d•lla S ala Clair W . Di~ehy Gent if. F Robm F. Fisher fouph E. Fronc:ok CorntliUJ L. T . Cabler Riehard H . GomersaU R~•ald GooJfeUow Waltn f. Gores Ed;oard Hammar~kjold Maurict E. Htllflmond / ostph Hudnul Robtrt lgltltart Michael M . J•:on• Edgar 1\aufmar'" Sol King Kra.u.SI & FarnJworlh L04A!renu l.Ackty

.,,.II

DetToil, Michigan Ann Arbor, Mi&higan P4rtland, 0'1gtm

Aan Arbor, Mich•l"" Ann Arbor, MichigDn Ann ArbDr, Michigan Ltmring, Muhigan 8io<>mfl41d Hills, Michigan Arl11 Arbor, Michigan

D11roit, Mi,hi~an Naplts, Italy Rof41 Oak, Michigu.

Flint, Michigan Pan, 0Ftf011 B,.ffa/o, Ntw T t>rk D1troit, Mitleiga"' Arlington, l'irginio

Granl.f

Dllr~l, Michigan Ann Arbor, Midigan AM Arbt>r, Michigan Huntington Woods, Michigan D<Jv~r, Masuzcltw~tts

Ann Arbor, Mic~igan Clev.t..J Heights, Ohio N•w Torlc, New To•k Dtlr<>il, Micltigan L4tUing, Michit"" San Frllntisco, Cali{l>'nia

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Ann Arbor, Michitan Aarrt K . L<!hti Ann Atbor, Micltit,an C. Throtlort LoTSon Portland, Orot<m Wilbm P. Lti Newporl Beach, California Ctortt ). Lind Ann Arbor, Michitan Owttl A. Luckenbach Detroir, Mrtllil411 Ki)loshi Mono An" Ar~r, MU:Ititatt Wolltr 1'. Martholl A1111 A~, MkAitan Rabetl Mcl<olf Earl G. Mry«r Detrt>d, Mult.it"" A..., Arbor, M itlt•t•" Willi<lm Muulwtht.im A.n11 Arbor, Mkll•t•" Will.-d A. Obtrduk Edwortl Ol,ncki A"" Arb#, Micllit"" Altll ArbM, Micltifa~e CAorl11 Ptarma~ Ba6alo, Ne~~t Yori Slanlt)l C. Podd David Rtidtr Ar~. Miclti1a11 ..b,. ArbM, Michal.,.

WtJitr B. Sandttl .datt Ar~r, Mrc4it"" }toll Pawl Slwsn D4trl>il, Micltit'"' lilltr~ M. Smid. &so.. /ttc Bitmircgluun, Midit"" S"'111>. Tara~a, M•eMahon, Ine. Ct.iur.o, Illinois Mrs. Ftanl P. Sttiu Grosu l'l>i..U Farms, Micltiton M.Jcolm R Stir1011 DetJrhorn, Maeltigc"' li•t'" D. Str<lil'' Dol, A. s~omt/4 Char/tool.<, Miellit"" Bloom{atld Hills, Miehitan Swan.sQn lfJSoeialiJ, Inc. Man<1guo, Nicaragu." }ost Ttru K 1toxvilte, T 4nnessee Tour B. Hany MTS and Mr. Arbor, Michitan Ann rtacy T Du••l L. Micltiga.n Detroit, Rob"l Wint

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EDITORS AND STAFF: Kiyo.t.i Kikuehi, Kenneth Kaji, Ruth Heeld, Roy Euk•r, John Amrhein, Mary Bucl•le, Ni•lsen D•ney, Michael Fortuna, Gunn1n Gru&dins, Rudor.h Horowilt, Fer· nendo Juar..:, Murr•y Kavnan, Sy Minlt, He en Napier, Harold Nelson, Jacobo Reines.. Terrence RO$$, Douglas Sc::hroedet, Jose Teren, Sim Vendenryn, Naomi Wel>berg, Hubert While FACULTY ADVISORS: Chart.s Peerm1n. Henry Schulke

Prinleti fry 8rMJ,..BrtimfieiJ, ltte.• Litlwp..;~tlt:t'l A11n Ar!J~~r