Page 34 - Studio International - May 1973

environment is, above all, created by necessity, We seek for re-integration of specialized
utility and function. In our time there exists a disciplines now split apart. The still continuing
tendency to suppress aesthetic feelings. specialization in architecture on the one hand
Nevertheless, these are essential in order to and in visual arts on the other was the reason
guide any realization, so that our physical that architects became rather indifferent to
and normal needs may be satisfied. A new plastic qualities, and engaged themselves
aesthetic for our actual environment, which primarily in constructive and functional
exerts such a profound influence on our building — a one-sided accent necessarily
mentality, can be deduced from the principles resulting in mechanization and mass-
of pure plastic expression in art. In the future, production.'
the realization of pure plastic expression in The same criticism comes from artists who
palpable reality will replace the work of art. still maintain the classical notion of public art
But in order to achieve this, orientation toward as a sign of highly individual feeling and
a universal conception and detachment from expression, to be contemplated (in privateness,
the oppression of nature is necessary. Then we though the sculpture is public by ambition) by
will no longer have the need of pictures and anybody passing by and caring to look. Some
sculptures, for we will live in realized art.' years ago, for example, a column by André
Some of the central arguments of present-day Volten was erected in a public park in
design are already present here. For example, Amsterdam. Tall and immaculate, the
what Mondrian is advocating (or dreaming : his sculpture stands out as a self-centered
statement has all the intriguing vagueness of a incident of autonomous art. It is placed at the
far-away vision), seems to be an understanding intersection of three paths, and one critic
of the 'profound influence' exerted by the remarked that nobody would ever plant a tree
environment and conditions of physical on such a spot, so why a sculpture ? A sculpture
existence on human mentality; also, he is like that, the critic goes on, would only make
implying that architecture doesn't have the sense if one could organize a particular
resources, the visual imagination or the environment around it — at which point we are,
intelligence to tackle the problem on its own. somewhat nostalgically, reminded of those
Nowadays environmental designers claim that intimate squares surrounded by trees in small
what they are trying to do is significant in villages in France, or of the social environment
architectural terms. Recently Janhein Daniels, of the well where people meet to discuss their
designer, remarked: 'I am concerned with daily affairs.
problems which are essentially architectonic. The critical point is that Volten's sculpture is

(Above)
André Volten
Column 1969
Stainless steel
Amsterdam, Frederiksplein
Photo: Cor van Weele
(Below)
Jan Maaskant
Design for Monument to Queen Wilhelmina 1972
Photo: Cor van Wanrooy

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