Page 20 - Studio International - February 1965

1

2
In another realm of ideas, during the last few years I
have made various experiments with the intention of
demonstrating the close relationships that could be set
up between sculpture and architecture when sculpture
is the basis of an extremely free and inventive architec­
ture. The first experiment was called 'Habitacle No. 1.'
It would take too long here to explain the intricate
evolution of my ideas. Of course, there was no question
of selecting one of my sculptures and carrying out a
mere enlargement. This is a process adopted by some
artists; but it does not seem to be the right solution to
the problem. The sculptor should study his project in
relation to the desired aim; he must take constructional
requirements into account and aim for close association,
in a plastic sense, of the openings and twists and turns
which, in the case of a mere enlargement of a sculpture,
would destroy the plastic harmony. 'Habitacle No. 1'
was only a simple gesture on the part of the sculptor;
nevertheless, it provided an interior setting-of some
variation-closely linked with the exterior, together
with a fairly complex use of light that emphasized all the
subtle effects of volume. This 'habitacle' was constructed
with provisional materials and could be only a demon­
stration of some possibilities offered by sculptures.
52