Page 48 - Studio International - June 1967

ing an immediate awareness of the complexity of
understanding media and the analogies that can
be derived from them. Working on this level, the
scientists and technicians involved must have a
knowlege of technique that is already a tool of
expression, and in their collaboration they also
need a deep understanding of the project in hand.
One of the aims is to establish a base for applying
to building our research into new materials, and
for producing functional works of art.
The 'theory of mobility' lies behind all our studies.
Our understanding of this guiding concept is that
infinity is equal to movement. We apply this prin-
ciple to create environments, and on these terms
a specific line of work is necessary: to build cities
that can expand and contract easily, and to enable
people to see religion, ethics and tradition not as
infinitely static, but as part of the continuous evolu-
tion of our world. The 'theory of mobility', when
applied to building, suggest as a logical consequ-
ence that it is no longer necessary to create ever-
lasting cities. (The growing population and the
changing environment dictate this.) We need to
understand man-made nature in universal con-
cepts, and its transformation and manipulation is
a creative and visual problem. By 'man-made
nature' we refer not only to plastics, metals, light-
ing, and so on, but also to the available theories
and information which the interaction of science
and technology provide; this is turn offers an
intuitive extension to the artist. It is the evolving
chain of logical events that is impossible to realize
in today's cities, and this is one of the most disturb-
ing factors. Any attempts to remedy this—control
of traffic, for instance—result in the most uncom-
fortable complications.
Obtaining the information necessary to under-
stand the scientific activity related to our work has
been, and is, an important and difficult task. Each
subject may have thousands of references that have
to be sorted out to avoid the mistake of unneces-
sarily repeating research to obtain information
already available. Compared with the uncertainty
of direction of a few years ago, we find that the
people working with us now have a complete com-
mitment to the work. For some of them it is a way
of life, despite the fact that it is difficult to be
detached from existing knowledge. One can see the
younger generation coming closer in their reason-
ing to a new conceptual philosophy of art and
science. The production of kinetic work, where the
known analogy and aesthetics of figurative art are
still applied, is no longer acceptable.
People's wariness of science and technology taking
over many aspects of everyday work is, to an extent, Guy Dessauges, a painter living in Zurich and terrace and garden. The lower part forms a cellar
justifiable. On the other hand we need more time winner of the international Regolo d'Oro Prize in which provides ample room for garage and work-
to grasp the transformation of our environment. 1966, describes his Project for Prefabricated Cylinder shop, and the space between the cylinder supports
The artist's will towards integration with the pro- Houses, illustrated here: is designed to be used as a protective playground.
'The concept of these houses is based on "vertical" 'In cases where a second floor has been designed,
cess of change taking place in the world is con-
thinking, one of continuous, controlled growing, the sanitation is contained in one unit with the
tributing to an understanding that may, one day,
from which the inconveniences of skyscrapers have kitchen on the lower floor. The cylinders are
allow man complete control of his environment.
been eliminated. The photographs show how, from soundproof inside as the contact with each other
an abstract idea, the cylinders can be grouped is so slight. They can be grouped in different
and fitted together on site. positions to fit in with the landscape, avoiding
The Centre (72 Chalk Farm Road, London, N.W. r, directors 'A variety of materials can be used, including parts uniformity, and can be added to without spoiling
E. Marx and M. Salvadori) will exhibit aspects of its work at made of transparent plastic so that adequate the environment. The diagonally-cut cylinders
the Building Exhibition, Olympia, November 16-29, together lighting in daytime is ensured. The back area provide shade in hot climates, and when inverted
with models, etc., of projects by Guy Dessauges, Gruppo .N, includes water, sanitation and heating, the middle let in sun and heat in cold climates. They are
Gruppo T, and other of the Centre's collaborators. area the living quarters, and the front, balcony, absolutely earthquake proof.'
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