What is the appeal of minimalism? For me, it seems to represent a state that is the opposite of CLUTTER, which is a form of ENTROPY. Nature naturally tends towards entropy so the minimal is in fact opposing nature, and actually represents a higher energy state. This can also be equated with a spiritual state. To live in a minimal way is in some ways an unattainable goal, which is precisely the appeal. Minimalism is equated with order itself.
Architecture = Integral Phenomena
At the beginning of the 21st century, architecture can be the most effective instrument for reconstructing the relations between our species and the earth. There is no better tool with which to redesign the link between mind-body and environment. The mind cannot be separated from its phenomenal senses via the body, which in turn should not be separated from the phenomenal aspects of architecture. The study of architecture is subjective, intuitive, psychological, and scientific.
Today’s new knowledge connects the psychological pressures of modern life with chronic stress-provoking illness. The link between mind-body and environment is now a territory of focus, and we can scientifically argue the timely importance of architecture as an integral phenomenon.
A mind-body environment focus might integrate organisms in structure or volume with complex geometric relationships. This new three-pronged vision will identify several lines of disruption of the given order. Each straight line, each curved line, each twisted line, when integral to a new order of mind-body environment linkages, becomes an active element catalysing the reformation of one reality into another. The urgent need for this new architecture can readily be felt in any reading of the Science Times (as can the urgent need to displace a corrupt fossil-fuel obsessed national leadership). Man belongs to a category of thinking and reflecting species whose behavior affects all non-reflecting species. The crucial tool, architecture, must be put in futuristic service of the new dynamic linkage of mind-body-environment.
A compelling article from the TIMES ONLINE, discusses the current situation for architecture students in the UK, which also applies to the U.S.
From the article: “So, what do you go into architecture for? Iain Borden, the head at Bartlett, puts much of the rise down to the Grand Designs factor. “Architecture is much more visible nowadays,” he says. “It’s on the TV. Icon projects are a factor. Students see them on adverts or on holiday. People such as Norman Foster are household names.”
Allen agrees. “We get students at 18 who all like Foster and the Guggenheim in Bilbao and Santiago Calatrava. Architecture is a bit cool. But it’s also a career, so the parents like it too. Everyone’s happy.”
The Bauhaus celebrates its 90th birthday (founded in 1919, dissolved in 1933) with a series of exhibitions, first in Germany, then moving to the Museum of Modern Art in NYC. (from the MOMA website: “
This survey is MoMA’s first major exhibition since 1938 on the subject of this famous and influential school of avant-garde art. Founded in 1919 and shut down by the Nazis in 1933, the Bauhaus brought together artists, architects, and designers in an extraordinary conversation about the nature of art in the age of technology. Aiming to rethink the very form of modern life, the Bauhaus became the site of a dazzling array of experiments in the visual arts that have profoundly shaped our visual world today.
The exhibition gathers over four hundred works that reflect the broad range of the school’s productions, including industrial design, furniture, architecture, graphics, photography, textiles, ceramics, theater design, painting, and sculpture, many of which have never before been exhibited in the United States. It includes not only works by the school’s famous faculty and best-known students—including Anni Albers, Josef Albers, Herbert Bayer, Marianne Brandt, Marcel Breuer, Lyonel Feininger, Walter Gropius, Vasily Kandinsky, Paul Klee, László Moholy-Nagy, Lucia Moholy, Lilly Reich, Oskar Schlemmer, and Gunta Stölzl—but also a broad range of works by innovative but less well-known students, suggesting the collective nature of ideas.”