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page118from Nordic Architects Writes
been regarded for hundreds of years as
basic things in all architecture. Aren’t they good enough?” It is surprising
that they ask this, because nobody asks: “Why all this thinking today? We have
Plato, Aristotle and Kant. Aren’t they good enough?”, or “Why all this
composing today? We have Bach, Mozart, Beethoven.”
I
think, however, most of the people understand the movement. They see the logic
of it, they know that a new time has to create new forms. But they may think it
often goes too far. Why revolution? Why not evolution?
There
is not much difference between revolution and evolution in art matters. Revolution
is only evolution at more speed. All the different appearances in human culture
have to develop parallel with each other. If one is slower than the others, it
has to hurry. But the result will be evolution.
Suppose
that our cultural life from the Renaissance to our day had developed with
smooth evolution. Suppose our architecture had developed parallel with it,
always moulding its forms according to the changing life, day after day, year
after year. Suppose further we still would wear the Renaissance dresses, with
gilded brocades and colourful ornaments. Don’t you think that one day there
would be quite a radical change? Don’t you think we would take off the
ornaments and fit our dresses to the spirit of the time?
But
now we wear golf knickers and straight cut suits and enter Greek temples and
Roman palaces, and are surprised that there is a revolt in architecture – a
revolution.
But,
is there a revolution?
He,
who still sticks to the old forms, thinks so. He who has for years been longing
for new forms does not think so.
I
became an architect in 1897. I have a classical training in school, but already
in the school years I freed myself from the old forms and went my own way. I do
not see the revolution. I see only evolution. And as I look back over those
thirty-five years, I think often that the evolution is too slow.
A few weeks ago we had a dinner at the
Architectural League in New York. Ralph Walker made a speech. He spoke about
the individuals who do research work in contemporary architecture. He explained
how they go different ways, how they solve their problems differently, and how
they look upon things from different angles. He said: “We need those
individuals. They are our leaders. They try to find the way for us.”
That
is true. And it is right that those individuals go their different ways.
But
could you imagine the old styles like antique and Gothic being born if the
individuals, the leaders had not gone different ways in those days? Quite
naturally, they had to do their research work too; they had to try different
ways; they had to seek just as we have to do it today.
But
there was something which, as time went on, drew them together. There is a
repulsion and attraction in art development just as in nature. There is
something fundamental in the power of the human mind, in the power of a nation,
or in the power of a cultural epoch, which directs the whole life.
I
call it: the fundamental form. The fundamental form of the time, the
fundamental form of a nation.
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At 2021-11-02 20:28:57,
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Paula Noronen
Yökoulun Pieni Kauhukäsikirja
kuvitus
Kati Närhi
Tammi
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Ruoka
Kakkua pullaa, leipää ja
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