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page140from Nordic Architects Writes
that this architecture is “unarchitectural”,
“musical”, the sculpture “non-sculpture”, “picturesque”, and so forth. But one
does not have to use these hackneyed expressions; it can be called “total art”,
“unison” art, which is what it is, in fact. Everything depends on the whole,
and the whole depends on all the individual details. It cannot be denied that
the various art forms individually lose weight in the process; if a decorative
detail is taken out of context it seems more or less meaningless. At the same
time the whole suffers, for the architecture itself is not enough on its own,
either. In other words, the “totalitarian” principle has been carried to the
extreme. And all this inexhaustible wealth is finally merely an instrument on
which light can play. With unceasing inventiveness, everything is formulated so
as to catch and diffuse the light, and make it a composition. The most
important agent in this art is light, and the next is colour. Thus it is not
without justification maintained that we have here a phenomenon which occupies
a place in architecture comparable to that of Impressionism in painting 150
years later.
Strangely
enough, the backbone of this late and exquisite art was formed by rural
masters. Does not Zimmermann’s shrine “Die Wies” stand like a blossoming apple
tree in the home meadow, with the dark forest and the gleaming ridge of the
Alps in the background? Zimmermann is one of the most lovable, pure in heart
and harmonious artists that ever lived – a Fra Angelico of Rococo architecture,
or its Haydn, to use a less remote comparison.
To a northern European, those old
cathedrals which seem to have grown organically, changing their shape over the
centuries, hold a rare charm. On to a dim, severe, long-shaped Romanesque
building, during late Gothic times an airy choir, flooded with light has been
built, during the Renaissance and Baroque times funeral crypts added, and at
different eras pews, chandeliers and altars; the choir perhaps has been
decorated in playful Rococo, the organ loft and façade shaped in the
Neo-Classical style, and on to the somber, massive colossus of a Medieval tow
Baroque masters have casually and unselfconsciously added their graceful
rounded caps. And yet everything fits together, though this harmony is not the
fruit of a uniform plan drawn up in advance but rather of some intrinsic
vegetative principle which allows widely varying components to grow together
like the multifarious trees and plants in a forest. Such a northern cathedral
is the direct antithesis of the Greek temple, which from the very beginning
stands in consummate perfection – absolute, like a Platonic ideal.
Intellectuality carried to the extreme, is
certainly a disease, though a highly admirable one. It has a tendency to end up
with the thought that “the cosmos is a blemish on the purity of non-existence”.
Le Corbusier’s words on the imperfection of the orange compared with the
geometrically perfect beauty of steel spheres and cylinders, his assertion that
the machine, devised by man, is the “goddess of beauty”, infinitely superior to
all natural growth, not only sound blasphemous but already strange out-dated
and irrelevant. These days there is certainly no reason to idolize the machine.
The great problem of our times, so difficult to solve, is, on the contrary, how
to master the machine without annihilating it.
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