scale is dead…


For such a long time the idea of scale is directly associated to the size of a thing.

(Symbolic Representation of New Babylon), 1969.

Scale and the connection to size is a fashion issue in that small, medium, large, extra large, 2XL, 3XL, etc. can be pulled out of any clothing rack in the world.  BUT, has the size one wears in clothing become inversely proportional to one’s scale in the world? In other words, scale is dead.  If, scale is gone, what will replace it?  One replacement is again part of everyday living…storage!

MEGA & TERA.

Long ago, MEGAstructures were suggested and proposed.  Where are the TERAstructures, on the way to YOTTAstructures?  The point being is no matter how large or how small, it’s beyond conceptualization for only one reason.

What is it that makes the things we do & build human?

Lesson / Koan : Desire’s shape & size is redefined daily.

MEGAstructures for New Babylon.

There must be a way as Tina Fey would say…”I want to go to there.”  To a place where there is nothing but desire.

BTW,

The Dutch artist Constant was born Constant Nieuwenhuys in 1920 in Amsterdam, the Netherlands.  For many  Nieuwenhuys is primarily known as the conceptual architect of the New Babylon, a utopian and minutely detailed plan for the city of the future.  Constant Nieuwenhuys died August 1, 2005.

Constant’s New Babylon project ( 1957 – 1974 ),

New Babylon (perspective drawing) 1964.

which he worked on almost continuously from the middle of the 1950s up to the end of the ‘60s, has attracted renewed interest over the last few years. In 1999, a symposium ran parallel to the exhibition Constant’s New Babylon: City for Another Life, at the Drawing Center in New York.

“What is New Babylon actually?” Constant wrote in 1966. “Is it a social utopia? An urban architectural design? An artistic vision? A cultural revolution? A technical conquest? A solution of the practical problems of the industrial age?” He then answered himself: “Each of these questions touches an aspect of New Babylon.” To put it briefly, New Babylon is a design for future architectural structures, made for a society of creative people who are freed from stultifying everyday work: “Homo Ludens” (“man the player”1938). (Homo Ludens is the title of a book by the great Dutch historian Johan Huizinga.) The physical side of New Babylon consists of work on paper (sketches, designs, drawings, composite photographs and topological maps) as well as paintings and watercolors, intended to give an impression of the inner spaces of New Babylon, as well as dozens of extremely detailed models of the various sectors.

NOTE :

Constant Nieuwenhuys in 1960's.

  • Constant always saw New Babylon as a realizable project, which provoked intense debates at schools of architecture and fine arts about the future role of the architect. Constant insisted that the traditional arts would be displaced by a collective form of creativity. He positioned his project at the threshold of the end of art and architecture. Yet it had a major influence on the work of subsequent generations of architects. It was published widely in the international press in the 1960s and Constant quickly attained a prominent position in the world of experimental architecture. But this influence would eventually be forgotten; the project has not been displayed since Constant stopped working on it in 1974.
  • source
    Text by Mark Wigley from ‘New Babylon. The Hyper-architecture of Desire’

 

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