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The Approximate Man ( 1931 )

Paul Klee's 1931 drawing - The Approximate Man (L'Homme approximatif) from the deluxe edition of the book L'Homme approximatif by Tristan Tzara.

The goal of the poem “The Approximate Man” by Tristan Tzara is a new man who lets intuition and spontaneity guide him through life, and who rejects measure.

Lesson / Koan : Coincidence can be an ordering system for one’s life.

The Approximate Man, expanding on the vision of a possible utopian society, in which haste has been abandoned in favor of oblivion. The world imagined by Tzara abandons symbols of the past, from literature to public transportation and currency.

People of the future live in a state which combines waking life and the realm of dreams, and life itself turns into revery.

BTW,

Tristan Tzara married Greta Knutson in 1925.

Greta Knutson, a painter who had inherited a fortune  financed the Maison Tzara – designed by Adolf Loos.  She partly modified the structure to accommodate her personal studio, which Loos has omitted in his original design.

Tristan Tzara in Zurich - 1917.

NOTE :

When Adolf Loos received a commission from Romanian-French Dadaist poet, Tristan Tzara, for a mansion / studio in Paris, Loos had an opportunity to exercise his ideas, set forth in his 1908 manifesto – Ornament and Crime

To Adolf Loos, the lack of ornament in architecture was a sign of spiritual strength. Adolf Loos referred to the opposite, excessive ornamentation, as criminal – not for abstract moral reasons, but because of the economics of labor and wasted materials in modern industrial civilization. Adolf Loos argued that because ornament was no longer an important manifestation of culture, the worker dedicated to its production could not be paid a fair price for his labor. The essay rapidly became a theoretical manifesto and a key document in modernist literature and was widely circulated abroad.

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Maison Tzara built in 1926 by Adolf Loos.


Another point of contention decried by Adolf Loos was the masking of the true nature and beauty of materials by useless and indecent ornament. In his 1898 essay entitled “Principles of Building,” Adolf Loos wrote that the true vocabulary of architecture lies in the materials themselves, and that a building should remain “dumb” on the outside. In his own work, Adolf Loos contrasted austere facades with lavish interiors. Loos followed by writing the 1910 essay entitled “Architecture,” in which he explained important contradictions in design: between the interior and the exterior, the monument and the house, and art works and objects of function. To Adolf Loos, the house did not belong to art because the house must please everyone, unlike a work of art, which does not need to please anyone.

 

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