Dimension 15 - 1964

i-

" •.. '-• 101M~., ol Go.l. o ~ o/IM willllt4: c..... uualtlklu...t oU lowo. llwU Made tMm 41\dlo, tM7 ar•l 0114 cot 1/.-"' tlti.t, • .,It lift 01 au.,-.[ to mwo. lhct out o/ tluw -..b M /NJmo.- o fourt4 .........t. bat" •tcor." ~

DIMENSION 15 • • •

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THE PROCESS OF CREATIVITY

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TABLE OF CONTENTS aorr~k tGAu

Creativity and The Need For A Phllo•ophy

l

2

rll<>m.,.l<>rkin

l'fllplow.geNJI'd. ,.,.,u14o~..,,o1.

16

~"" .,__

of The Creative Self

~he

Brain Create& Ideas

llow

Early Sta.ces of An Idea ln

Archl~ec~uJ:>e

Cr-tlve SketchInC In

AX'chltec~ure

r;,h.,.d d . o....m

o.iitioJn b....,..,..

8

Ele~~nen~•

26

One Concep~ of A

36 42

Fra~rnal Coxxununl~y

Ftf~-n Centurle•

ke...U.~r ()ttonymoou

iOMa 62

62

of .Japaneee Pottery

:M emo To Creative People

Today I • YesteX"day Already

SPRING 1964

dimrMi<m JS / - I

CREATIVITY AND THE NEED FOR A PHILOSOPHY ll4rrt k. /<Jhli. profeuor of d<ligll, unive,..ily o/ mi<:higan In prilldple, we are '"''""'"'llnr young to

mow

towat'ds unc:IW1ed -ters; and In doing lhls. woe may VtzY well J>. In· strumental In 1amperlf111 with their """'110peop~

sure, !JIO!ftnlty and happiness. I am (leftOR..Uy V«)' little COllcerlled with tho qu~ion ol m,y own happiness, but l clo not wish to be one who dellbenltely shan""' th~ composl.lr" of others. W<~ are suggeatlne that th., younr people ventuN forth and as a conw· quen~ o! our .suggestions they ma,y, In for. sud111 the stereolypo!$ of the ~ority, become lhe minority. n 1 cort'e<tlY remember a ~nltlon from a soclolol)' course, • ... an IMlltutiOn is pri. marlly cone<~med with Ule preM:vatiOn ol cultural patterns and mores." 'nle ready INde phtlooophles, prOVided by our lnstltu· Uol'll, are oonoemed, not wtth the question· In& of our values and standar<la, but with their I)IUei'Vallon. creaUvlty, UtO\Iih sprint· Ina from elements prov;ded by our ll\StltU· !IonS, Wt:lmately «111\ES Into conflict with tile lnalilutlons them&eiW$. All too soon lhe ere. alive Individual finds himself ldrlft.

l feel we have a respcm~iblllty abovo and beyond the subJect whioh we tMch. I <lo not bellev~ In di.spoo;ing of something without havinf an alt.,matlv~ replacement. Tilt W<>fkll\p of a <UihlN hav• gono thtOUih a long and Involved evohUlon; and il certain custOil\'l, riaht, wronr or obsolelt, sliU exist, they exi61 because they have at one lttnl! or another fulnll•d a need. I Ce.l that we must encourare the ~ading and stuey o! phlloaophy. Since ther.. is no mngle workable ap. plied philosophy that rould so muoh os resolve the conftlet& within our ster..OIYI>"· the survival snd 1unctioning or a creative Individual depencla upon hl.s creating hi• own pb!Moophy. By this I do not moan that he sltould create an tntlffiY or1_,;na1 phlloeophy, whJC.'h he~; but by beco<tunc fa. mUiar with pllllosopltlcaJ thinking of tM I*SI and the p~nt, he <an """'P''Se trun I~ cotnpOntnts s philosophy !or hlnuelf.

With his own phllollopby as a gui<le ancl measur<~.hC> can better wltl\standthe rarifted atmospher.. of Inquiry and creativity.

___ ---- ·-·---

,_

'

·- - - - - - - - -

ELEMENTS OF THE CREATIVE SELF tlle>m.., kvltilo,

The creative person, that rare being In our culture and tor that matter in any other cult\Jn, that person who Is """"ntial to all aspects of man's growth, as weu as being the ullim.ate part of making art, Is a dilll· cult penon to ducrlbe, tnHSure, or in any way ldentl.!y until he Is dead. We hope that some way or doing this om be dtveloped.

How..-. there~ some Indications that we are on the way toward such a measure.

We as antsts and teaohA!rs have a kine time Meltomd and helptd the odd Wllq\16 out.of·p!Aee Individual with the slnM-c bel)l)t tl\at here was the creative person. nw leuah· I« and ll1n that we were the butt of ~

~dleu. Tht mistakes we macle \Wr'e end· Jess. Yet the anlst-teadler employing the In· tulllve AenM or the artist and the girted teachfl' Aetm• to have been r1ght. We ~ now beginning to see, through resea:rch, aomt qualities that are sha:red by creative J)IIJ'$0111.

We mlsht look at a Jew s.>lect c~ Ltdcs. Wu.stTated by Art Education students, which """m to delineate the creatlv.. person, some eltments whkh may help teachers to Mlect him at an early date and help him through the developmmt of a:rt talents and akilla nKHOaiy to the expreo&on of his tte· alive seU.

,.on- o/411 ~• ..,.w,,•i•y ol mkllilt»t L IW " ' - a Ngh ability to re-dd!M. ~- to ...... familiar objecta In .....,., ways.

2. He shows a I!UftlC)' ol !doss. s. ~ 1s Interested tn a w~c~r rene• ot things. Ideas. obJects, and the manlpu· latlon of them.

4. He is able to elabora-.o omatruct ttom ~ £1mple foundation a moft elaborate structure.

Yes, this person IS

quit~

!amUiar In the

a:rt room, but now we havo some basic th>H backed up by sound ASe~rch to support us ln our l<kntillcatkon of the creaUve person.

I

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dimtnoiQn 15/ page 6

papif:t-·m<U:M N~li•~llit fit~geJ'GJd. siti oim/otu.dento /XIP~NtW<It~ «11/IUUi lbafOioflfotruJent •

HOW r

THE

BRAIN

CREATES\

IDEAS r<Jlph w. gertud. prc/eiJIIOr <>f n•urophyfit>logy, mtntal 1'tlt<JT4!1t. Wtitu.C<t,

amivt,.it)' of mi<hi8an

... nUpla fl<'rard, "lww tlw broin c-te• i<U4#» frvm IM creativt pro<:eu, michigan advltl"'iltinj!' pcptr., rwmbtr 1, biU'Oau of b.uiMu rut,.,.cla, 1r<Jdts<ll< ochool of bUime81 admin.Utration, 1M univtl'fity of michil<uJ, ann GTbor, «>P'Yntliud 1967 by lht "niwnily of mkhifan.

What lukpJM1ns in the nervous <;ystem to a=unt for the arrival of a new l<!ee. and tor the survival or ~lectlon ot the good Idee out of all the new ones? 'I'IIis Is esaent!ally the problem ot Insight ano1 then ot testing.

Let me be sure we are 1n ~lear Wlderslalldlng with one another as to wl\at In· algllt means. This b tlukt act of sud<len ellck· ini-Snap! I've e:ot It! It is "cl0611l'e"; all oomes lo&'ether to make sense. I woul(! like to give you one or two sta~menls about this and examples of 11. so 11\at It Is clear toe. tween us.

You have all .had this e."}lerlence while daydreamlng, shaving, !yin& In bed half asleep, It Is one o1 the reasons for ~ to preserve a <'ertain modicum of unp~ time In one'~ lite, beca~ II Is under these condition& of relative freedom thAt the new Ideas are Ukely to d~ml, Uke the Ten Commandments from Sinai. and light upon your own dome.

The new ln91gbt. the Idea, Is not the new · !le'll$81lon or experience or observation ln the realm of sclmce; that should be oon· eemed with experiments. It Is not the new !aet, that Is acquired by memory. It ts not even the new Inference. This is reason.

The l.nslght Is quit" d\ll'erent !tom all these othe~. Let me tty and give you, at a mor" homely le\'el, the dltferenao between reasoning and lmaglnatiQ!l. In the ~ of reason!n&' therl! exists a limited number o! po~lbUIIIes, ot possible solution. By testing out one after another, In tile mind or "lsewher-e. you can be pretty certain to ~me to one that works.

The typical parlor problems are often ot thts oort. Three pennies &n(! three dimes an> placed tQ&'ether tn a rQW with a space toe.

tween the two ~Is. Each coin may be moved torward, toward the other kind, but may not jump or move backward. The object Is to get the pennies and dlrnes exch.anged, It Is a simple kind of ~he<:kers: anyone, U he stays at It long enough. can solve this pro~ J.em. Some do lt more ~Uy than others, but It gets done.

In contn.-dlstlnctlon to the above problem In which there Is a ftnlte set o! posalbU!tles and thenfore • rMBOnably good expectancy ot catching the right one sooner or later, are the problems one 501ves by Imagination. The brute poW<lr of logl~ Is ~ktls; somehoW you get the clue. and tlukt Is tllat. The m<> ment It comes there Is no question about the rlght solution.

Sup)Xlll<'. for example, you have six match· es. I ask you to make four equllateM~l trl· angles of them, each having a side the length of a match. I have seen people play with those on a table !or an hour, and toe. come mlghl)' .tl'u$tRtt<l. 0! rourse. this problem b Insoluble s<> long 11.9 the matches mne.tn In two dimensions on the table top.

The moment, however, one thinks o1 the third dimension, the solution__. tetrah«<ron with slx sides and tour taoes, each an e<~ul· lateral trlan&'le-fe.lrly leaps at one.

The Imaginative solution to a problem has ~naln very lnt~ proJM1rtles, It allTieo with It a $1r'ong feeling at certainty; when you get the answer, you know It Is rlght.

Occas!onaUy you arc wrong: but most ot the time you are correct. The S<>lutlon car· ri~ with it a grt!at deal or pleasure. a gNat !eellng of relief from t~nalon. And It car· ries with It, i! It I~ roolly an important """". !native wight, a ~lnal one. a ftS!ructur· lng of the universe that pm;lsts from then

on In mankind. I would like to t'Md you, In this COJlll<Ctlon, a tew passe.ges !tom an artlcw by C8mpboll, the gnat aatl'onomer. written a couple ot decades ago. "('The laltyl have no Idea that !the work o! Newton, Maxwell, or He'!Ul was an expression o! their personality ~U8t as .IIW'ely as the work o! Glotto, o! Shakespeare, or ot Bach. They stW tend to contra.st ~ cold· bloocltd raUoiUIII&m ot the man ol l!Cienoe with the p<Wionate d«aming ol the al'tlst.

But sc:lenoe too has it$ dreamers. and their d~ co~ tNe; they dream, and ~· S~~gts llash across an empty ocean; they dream again, and a new world sprlnp Into beln( and starts upon ~ course that they have ordained."

Aao, • !ew passaeo:s wrlt1m by Oscar WHile are related to the Imaginative tolutlon.

"A s-t artist Invents a type. and life trtt4 to copy It, to reproduce It In a Pl(IUiaJ' tom~.

Jlkt an UlleztlriSinlr publisher ••• Ut· nature a1-:ro .w>tlripota IIIP. n does 1101 copy II. but lnolds it to Ito~- The 19tll Century, as we ltnolo< It, Is largdy an lrtventJon o! Bolzac.• t 0lm))U1Ible to the state· tMnt Oft Sb.okespeerel. " But If to lead the way and to bid lite !Oilow Is the distinctive character ol the art, what art can be so cr-t as ldeneo! A Nt>Wton, a Fan11lay, or a ~I - • - a theory and ll!e adapt4 luel! lor all time to tho taws which It pndlcts: by the .!wet o! hbo ll'Malnallon he creota no pe.$0> tng laahlon, but the penna.nent stNcture o!

,_,eat

the world. He Ia no

1)Wiy

creatllrc closely

bound by the laws ot ttme and sense: he Is a creator Who layt down those Jaws; verily tht winda and tho waves obey him."

"A man n..cl not abandon ell pretentioN ot the proud UUe o! artlat boca- he 00\lkl not design the Parthtnan or write the Fifth Symphony. Moct ot us who have attemp!l:d to dvanc:e 15dftloe havo bad our all too brief and pqslllc momenta ol lnaplnltl<m ; ad~ a aln&Je br1d< to 1M mlifll)l structure or ftnlohed comtr wllkll the muter In hbo lmf)t!UOalty Ml averlooked.

have

And though our tiny ~ll'ortll rtabtl'1 poss almost uMOI1ced 1>7 the rest o! mankind. they have a value lor ountl- beyond wo <:en tell; one \nlllant we have atoocl with ~ veat ones of the earth and ahand their

"'""t

eJorJ." lAt u

~xamln<!

the anival and tho

IW'·

v!vaJ ot the new. ln repros to aurvtval, whtcb 1$ a simpler prc>blern, there Ia the problem ot testing. It bellno otn In t4stfnc the uncons<louo «lmblnatlons that the mlncl mak~, only certain ones oomlng Into con· !IC!ou.mHS. 01 this process we have only ~ understanding. But beyond that, at least In tM area of science. which Ia con· oerned with validity, the testinJI procedure La fairly stralghHorwan!. One can dellnt 114 rules; one can teach the technlq"" tar dolrla lt. This Is the great strength of the models and tl\eoru!9 to predict coruoequen~; and

ol t~ aperlmentsl methods. to -

whether

the predictions Qre confirmed In tact. II <On· tinned, this Is clear, and one s!Jim otr again.

1 will not go turther Into the PrOb~ ol

testtnr.

the geaent! requirement of llarcl work, ot eii'OII1. needs no eltbol'atlon; but r WoUld lll<e to !!IaJ one more ~ "'"' &ur• YIYal of 1M new Idea, Wl\l<l1 is not so fam1J. lar. 1 ~ to the attribute o! "oourap." It Is not so haN as one $011lttlmes thinks to get , _ Ideo$. Certainly a wry tew ot th""' go a lone way. beal~ It takes so much e!fort and can to test any one and establish It$ vall<l!ty. The great ~Ot1ty oC ldelu wlllch do look good to the one who reta them Is nevn followed up, h~. beca~ this demands too great a dedication o! time, ot Jtondlne. possibly of otle's whole career.

In case one Is wrong and, nearly elwa~. It tt Is a really lmpor1ant Idea, one needs the courage to stand up against his own col· l..,gii<!S who think It Is nons<!~; for neuly ~ really new lck!a seems nonseJ\SlaJ at

nrst.

Please do not draw the conclusi<>n that

evny new Idea one gets Is &f"i't just

be-

Ctluse It Is n011$0Mical. Ovetwhelmlngjy, ntw Ideas are noMe~~Sical; the polnt is to pick out the rare O!>e which Is not. Thls ~ creat courage. the kind o! courage lllat Gall· leo oxhlblted in facing th~ InQuisition, that Flo....,oe N~htinple needed to ro!Olte nUl$· lnr. that tho youn11 Picasso !launted with his w•lnl new plctotlal concep!S. Th- attributes are relatively IJ!nlght· 1orwanl. Moct ot them-perhaps not c:oara&e -<:en be bullt Into the calcWatlne mathlnes ot the day. It II not d.illkWt to put "niaaon" Into a ~la.tor. It Ia <'ei'Ulnly no problem to put In ~ed hard wed< to the

"*""

macltln~ keep goinc and aolne. It 1s not diJ!!cult even. to put In " tntmory, which Is OM of the thln&S I will tpoak of In a mo· li'Wnt. But so 1at lt hU t.n quilt lmP<lS$1ble \0 build Into a maclt!M t"- 01htT attn'butes Whlcll ~ assodlltecl, 1\01 with the sun1Wl. but with the anini of the . -.

nrsc ts ~;

"obse:M~tloll."

lrallsl&llni

rathff a lfl\....:l

an tx\)HlfltCit Into _ . thlnJ meaningful, uanslatlr)c raw - ! i o n Into peroeptlon. leo.mlnl to r.c<>&nlr>! obJedo and ftn2Jiy, to visuaiiU them. On this I $hall My nothJne more. ~t.ted Is the problem of "~tttnllon." It is WfD known that when oounds bccomt tamll· '-1', !My are tcnoro<~; but If lhtY ar. lmpo,.

unt signals. they come '"""""· A mOiber c:an siNp rl&ltt tllroulh .._.,. tralllc pus~ng the holiSe, yet walot<l at the ! I l l - Whimper of M1' newbon• babJ. 'i1w "*'hcnlsms wt11e11 deltrmlne thb ftxlnc or atltnllon .art now talrly wen NYealed; amonc othor thfn&$. the actual unslt!vlty of tho ear ncrva is altered by tho brain.

Aft•r obeervatlon, the expcrlonCtil must be "ord•red"; they cannot nmaln Ju.t a ho<lcrpod~. Tile very n011ons of lime and Spt(e have been llllown experimentally to mull fr'OI1l eJ<perwnclt. Humana with no .,.;. slOCl In early ur., but lac~r reetored. ""'""' ttll triangles !rom Sud> cu.rrin¥n.a· tt..,. aN not - " ' and m... bf acquired Wl(h Cf('at ~; ~ n<JrTnal ~11'8 n<!Wr a<:ql.llnd It they have no1 _ . , built In during Ute -lY tX~rl~ of,._ vtlopment. Tllose are a sort of unlve=t. a ciA.. into which one pub lnclJvidual entl· tt.s. The mere use of such terma u "C!Ircle" and "lrlangl#' alrudy lmplleo a claM of tntlttes.

Sud> O<derinc is txtmntlY Important In building up Tl\b Ia the way _.

- our whole umvuse. In t~rms of S1Jtxlivi. s!On& and sub-sWlcltvlllonL !!Ut, u White-

.,,.,lie,

at_.

Mad said. 1M rreat danitr of tile Intellect Is thai OM .an &lW~ sulxlivide lite Wllver.~e In aome way, and "nature does not C<>me as _ , . . )'OU can Chink lt.. w~ can fool 0\U'· Mlva by dlvldlnr t1w In par!lcular wa)'S. by !Ill! 'I'wtnty Question technique.

Mo.! of our thinklne b In terms ol !:>Jack or white. up or down. and lil<e dlclt<!tomles, with Ut~ cra®tc; and MOctt ca~ put a atnl&'ht Jad<et on our mind wttldl Jm. !)Odd !Ill! amvaJ of 111e ..-. 1 ~~~<e 10 say U>&t 1M dlffere""" beoveen reason and lmlle· Jn&Uon Is that reason can answer 'I'_... bul lmaglnalion ha5 to ask tttem. In aoMng some problems in Twet>ty Questions. the ,.-eat 51<111 Is In aaklng the right quE!Stion. In &elllnl rlrht klllds of combinations.

Next come$ "concem.u which J ha.ve touched on, In terms ot att~tlon. Bitt atten· tton movts one to Jnterut. to dedication, to passion. It 1$ here that one phrase. "N~ s!ty Is the mother ot Invention,• has so~ ~ me.nlng; when a real need for !lOmething 18 felt, then It Is muoh more likely to come about. The solution will come to the ·person really concerned, not to the ~ who rather <UUally notes that It would be ~ to get an answer.

Ftnally, of couroe, ~ 1$ the "l.maflna· tlve p~." 1 hav~ eo.nsiderecl thl.s but wUI mah two addltfonal pol.nts wltlch may be of spedallnterest to till!$ group. We think an<! we often say that the new l<l<la or Insight. IS the prcduet of the s111gle hwnan brain; and so, In a S<!nse, It Is. But I would like to 0'11· pha!lu, for one thing, thai all our l.maflna·

unl\1.,...,

Uve eretMty today Is not a prcduct of an lsolaud human brain but ot a brain Which has been ccmdltloned by lntera<.'tlon with oCher humaN;, by the entire hlotoey ot c:!v!U-

zatlon. What kind ot pr~ could we make In lhe , _ tl>ou&IIU and lcleaa with which we deal today U mankln<l had not ktt us the lepcy of ~. of numbel', ot

symbollc thlnk111g 111 genmol! In 1801, even without such prl.mltlve tool.s ot clvUW.Uon as penetl and paper, wlln which we keep records ot our thoughts, how tar could wt progNSS Individually or coUectivdy?

But more than UU.., It am now be &atal>IWlecl, I think that coUectlve etrorU at think· Jnc, by Interaction of dUI'erent people with diJferent backgrounds, au Ukely to be pro. ductiv" beyond what La l)(l8Siblt tor any on' of those lndMduals workln&' alone. I do not mean thet ..,,., one lnc!Jvldual wUI not tlnaJ. ly get tbe idAw.; this Is t~ IIXpectatl<lOI ; I mean that II he lwl not been ltlmu!&led by lnta'actlon with tile othen ~ Pf"bobly W<>Uld not have 1otten It, nor would anyOM ebe.

One can ~Yew this proecu In tlw INI!VId· ua1 or the 1"""11 by ~ that tr. dom mentioned In ....,. ot the lbclrt aa~ not btlnltoo critical of one's Alt or fellows. That Is wily bcln& halt esleep ond a bit ra.tlpc<l. btlnl I n - In till! lleld, a novice, or a child. tavon .fhsb ln'l&g!nlnp. of whlel\ only a V'O!Y small trae>tlon are aood but many ""' ll.lu!l1 to be . -.

This 18 the t-"hnlQue o! tr.!e asooelation an<! of PIYchoanaly•La. the bringing up material whloh Is not r.tW but hld<len.

The neuroloelcal explanations which 1 am prepared to offer wW be sketchy. 'I'M story -ntlally Is this: The brain I!J composed ol 110methln&' llkA! len bOiloo IndiVIdual n•rve cella or neurons. Long whiskers or Hbers from - h go to anotheT region and make eonneetlons. the so-eallecl synapses, ot one n.uron wtth another. The neurons form r1ch networks. meshes o1 vartous kinds, with each other.

What .re the tmporU:nt pro~es, what

belnr

will determine whether a particular nerve oeu Is aetJvatecl or not? One thing, of course, Is liS own Utreshold; that Is. how excitable It

to.

how much

<llsturllan~

Is neoess&l')' In

•

order to tl\rQW It oil balance and make It llctlvelr sene out liS own message. About 1M tlunholcls or nerve etU$ we know a eood deal. They can be varied In mat>Y ways: «>llectlvely by eleCtric currents or tlelda or by the ohcmlc»> env!ronmtnt In which they find the.mwlves. The amount of oxygen or tarbon dioxl~ In the blood reach· !ng the brain; th" concentntlon o! se.lts !Mre. can control neuron action. A decreaM of 1M C*ldum 1om In blood causes cells to bcocorne so exdlable that they WW ao Into opontaneous conwlllons, and~. U· C<!$$ alclum makes them so slucei&ll and \UIH<IP<mSive that tht brain gOO$ Into coma.

8 type of deep aJeep.

Another well establlahed phenomenon In the nnvous ~yattm Is summation. Several lrnpul$es re:actln& on a single nerve oell can add up, In spa"" and In t~ also; so that a ~c:om1nc In may tall to excite the ner.oe cell. l>llt MVerai can procluct excitation and dlschuge. This dls<:harce may then bring In a new nerve cell. which In turn becomes active anel br1np In still anothel" new netVe oell. Thl• 19 the phenom@non of imldtat!on of actiVIty. from a normal chan· • rod into wider and Wkler ehanneb-SOmeWhat as a river l!oocls out of Us bed and mters all ...v of additional gul.ley• and elliS.

Finally, mesu.ces 1101 only ao from oense organs throulh the nervous system to rnus. cle$, but some neuron connections tum back on tllemsel- to form loops ol exdtatlon.

A m•ssaae «>mes ln. activates one neuron. a second, thltd, fourth, and lllth, and the fi1th In tum -ctlvat.s the tint; thus glvlng a sort ot clcstd drrult of oct!vity. aolng on and on around the loop of ~ cella.

Thae, tMn. are some ot the basic ~ nomena of nerv• activity. Now, eoctternel)r q_ulcldy, I would like to apply thtm to ~ lern.s l.nvoJved In the Imaginative prooess end

the tl'Stlng prO<'eSS, Flnrt. «>nslder "obser· vatJon., and ..contern.'' A kind of volume <Ontrcl has actuallY been demo:nstnoted lor the braln. A soWld of given loudness will ~ a lar,e oc small resjl()nse, even In the ear ltsdt. dependina on the attention of the lndMI2ual., '*-.._ nerve llbers go frcm the brain bad< out to the ~r one eontrol Ita oensltMty. This amount$ to a kind of p.tlnf process. A m~e come• In to a j\Ulctlon and goes or dou not come out, <lependlnr on wbeth..- something else tom.lng to that june· tlon has opened or closed the gale. n... ~ ICtt of mechanism Is Involved with a:oncem, attentl<ln. lnt~ and cleclleatlon. In tact. there "" two cle&rcut pllrts ot the nervous system: one roughly assoelated with the phenomena of aiTect or emotion. and the other with otdina:ty ~. pe~p. tlon, motion, reasoning, ancl so on. The !nnu. en« of the fanner on the latte r Ia Quite c:IEar and dcmonstratable, servUll a eat· lng protas or control. The m-aos In the second system flow or do not !low. ~ndlng on the emotional ~" wlllc:ll may f:adlitale or block or do ne>tlting to the messages on their way to or !tom the brain.

Tills Ia related also to the problems of ~ memberln& and, Indeed, ol on1etlng and linag!nlna. Most expenenees that 10 through the nervous system constltut• a 11 ngle JneS· sage wllkh probably leaves no permanent ~Taco beblncl. In order to havt a trace which enduns. tl!el"e must be somt more COI!tlnu· lnl - m y own aueu has been a rewrbntlng lOOP-to wear down the ellannd suJ!Ia.ntly to leave a recorcl. This can be sl\own-f.t least the time Interval for tlxa· tlon c:an be shown-by 110mt simple experiments. We taught hanat<'rS a maz.. and then gave u~m a sevl!te el«trre shock whicll blocked out all the llctlvlty In the brain. II they had learned the maze. they remembeNd It a!ter the shoc:k. But 11 the shock

"*

- e 14/ dimeMion !5

was given within a few mlnua.; alter they h.ad run the maze. the anlmtlls never would learn I~ When the shock C'«l''le a couple of hours alter the run, learning was not im· palrod. So one can mea.<ure a time Interval, between h.avlng the experleM'e and getting It tlxed, during which sometmnr Is going on In the brain.

I get a little Impatient with the huge em· ph.asls In the radio give-away quiz programs,

on memory; on the- deposit of an enOTmous number ot ta&, easily and relatively perma. nent. Tilts is a desirable attribute: but It 1s not worthwhile It, as Is o.tten the case, one pays for it by h.avlng a nervous system that somehow fixes so easily that It l<>ses pli· ablllty and the ability to use !acts In reason· tng and lmnginlng. The general experieno. has been that the memory wiu:rds are llkely to know ~etythlng but are not able to do mueh with It; they are not ~tlve people.

There are of course notable exo.ptlons; 11 you happen to be a momory wizard you may also be creallve, but the chai'K'\'S are strongly against lt.

Thls 13 highly relevant to the problem ot Imagination, be(ause the Imaginative Idea 1.!1 fhe new one, the dllferent one, leading to a dilfe!<lnt kind of behavior. How will something new ever appear It the messages COM· ing in through a given set ot channels always go th:rough tlrmly tlxed connections? They wiD take the same paths over and over again; they cannot be -rerouted. Novelty is possible, be<ause, even under ordinary conditioM, there Is at synapses a ltmlted play of unoer· tainty (or a randomness becau~ we cannot explain ttl In th~hold and activity. Depend· in.e on the local chemical $!ate and the bal· anCI) ot !n(!Oming Impulses and the immedi· ate past ~d the distant past, there Is always a certain chanctness; and this favor-s the<» runonoe ot IMovallon. Again I re-emphasize

that overwhelmingly t~ l.nnovations are not useful but a tertaln small traction ot them is good and, it the proper techniques of testing are applied, these good ones ean be selecte-d.

Finally. these meeh.aniuns tie \IP With the whole area of tension and anxiety and closur<>, with the feeling ot Wltult\Uedness. when one is really grafpllng with a problem, and the feeling ol great satistaction when It is resolved. Here ls my picture aJltoo Sketchy, of how this wori;s. Most ot the me,. sages buzzing through the nerve system are (!Ompletely uneoi'ISdous. 'lou make reflex responses of aJl so~ all tht time and are quite unaw~ ol them; you are not awa:re of blinking your eyes several times a second. of adJusting your posture to take care of grav· lty, of your arterioles <'OJ1.6tr1ctlng to keep your blood pr<lS6ure up, even. sometimes., of a:n Itch which you unconsciously S<:ratch In publle. Such things ol'<llr.arily don't get into oons<:lousness; the disturbance to the system can arise outside the body or Inside It, as the chemical Imbalance which elves hun· ger or thrlst. but §0 loni as the simple re· sponse removes the stimulus, that ls the end ot lt. This Is the automat~. regular, Inherited kind o! behavior; It does not need attention (If consciousness.

It, however, the routine response doesn't eliminate the disturbance, then the 11ow ot messages contlnu~ lnte whatever part of the brain they !ll'e r-eaehlng. They begin to build up, summate, and radiate. They spre.>.d further and further to additional parts ot the brain, bring new regloJ>s Into action Md, somewhere along the lli!e, eenerate aware. ness. lt is !ike the phenomenon of sleep.

Normally, vertebr..te mamma!a tend to sleep and are only awake when they have to be, a "wakefulness of neoe:ssity." There is a silnl· lar "awareness ot nece$Sity," one b only

aware of things when it Is necessary to do something about them. This Is related to a dilferent kind ot behavior; not the routine, automatle kind, but what I have caUed lnno. vatlve or ereatlve behavior. It may be at a primitive level, but one must do something ditferent trom the routine to solve the PrOO· !em. Behavior may then be quite random until tlnally something cUdts, or it may be by insight--<lependlng on a gnat 1naJ1Y factors.

As long as something 1.!1 unre.9<)1ved. the ten.9ion remains. With the resolution and do. sure and ftnd!ng of the answer, aU this dt& &ppears and there Is a gnat feeling of relief and satisfaction. How th.at works, what the mechanisms are tor these concomltanl!s of the closure, remains tor future explanation.

But you have all experlen<led the ~e tension of waiting for something to happen, the lett<l' to come, or the answer to be given: or of trying to mal<e a dll'ftcult ded· ton, shall l take that Job or buy this house; or of grappling an W\SoOlved problem: even of the "unbalanced emotional equation."

Somebody had done you "<llrt." you resent It and until you have sonwhow squared ae. counts, this ranklll$ and bothers you. Even though what you finally dt> In no vlay allevt. ales what happened to you, there Is stW a resolution of the continued tension. Just so the child, and not too lew adult6', klcl<:s the stone on which he tripped, or breaks the golf club that knocked the ball in the wrong dl~ion.

! hav~ lett out many ot the suggestive (!e. tails and nearly all the ~vidence. U!t m~ state my leelln~; that the mechanisms of brain function are coming Into view sut!ldently clearly and are sullldently close to etving'us the kinds ot answers that we need, so thatl have gnat optimism a.• to the future under· standLng ot these pr~; Indeed, w'ltether tor good or bad, ot manipulating them.

EARLY STA GES OFAN IDEA IN A RCHITECTURE ronusldo giurpla, aN<JciGie pr-o(euor o/IJI'<hitecture, Wlilltr#ty of ~1\M)'IIJOllio/ mitchell and gU.rto/4 QUIXWtl k~lcourl building, <lumdiprh, india, 1961路5~

It 1$ not r!mpl" today to elrcurnJCrlbt "'ell material as contemporary IU'ChJtee. tun and to ooi\Mder II outside of the ,erteoral oontext ol ~xpandlng patterns ot clvlllllallon and cultw-.. We Uve at an extraordinary and complex mo,_t ol b.\stoey; and lor the first ttmt, w. are -!lzlng that em.:. dlltant eulturea ean permeate one anothctr. 'n>t sam-. Quality of knowledge has become avail路 varlllb~

able to all the Inhabitants ol this planet. at least In principle. Yet because we live In a multl路level culture, each level ot actMty can be developed out ot toucl\ wltl\ the 0!/ln-s, away !Tom common ldtologlaol grounds wl\pre they should mod in order to ~ ~ reliable ~ Dblll\tslonrMnt hu disembodied 1M traelltlonallde<llogles in nUglon and poUttcs .so that these often asswne

'-the form o1 ponon&J prcmoC1oD and

~

c.nenJ .wl!a"' has beectn. a generooa (Ub.

stltutlon tor unlwnal rruth. Doiachm..nt hom ldf<>loelool ond intellectual enga~ment II thr CW"''rnt attitude among many )'0111'11 attl&tl, and c:ornll'!tltion has become morr In· tplrlnr thin emulation, no~Jty than !Moll&· lion. Indeecl, to 1"Mke the picture dArker, It seemt l l tlmtt as though the prtnelple mo.

t!ve ot our culture Is <Epi-11~ b)' wetk· - . the oollapee ot .,...,.~ .....,..h 1M Jack ol v!W!lty; PVeeybocly ""'"" alfecttd by thl5 lack ot enerc:t; but the lll'11ala, ~ aous. ot the very character ot their ac:UvltY. and beCIIU$1! they have in eeneral a more alert consciOWintsll and 1!11! mo.... .oell*ltlw.

•re the ones who most •ufr.... ThAI &ftlll •Mrln' ol the Walt Whitman lll'Mo, that

PQIJ•

<levtllall youthtul couraee !bat nv.de u... great dUM o! t11e Ml<ldle West. ..ens g'OC1e.

Vrry ~• .o tar as 1 know have tbe ~ to bt abotlt the flmdamental .lll"<b ltms of our time. Hfmlncway, cme ot my heroes, bowld his name to a reputatl<xl of Y1talily and creativity, and chose to kiD him· MU whftl &II that was IQnt!. Wr, as archl· tecta, have botn at tlw qe of gnat ideas te.lt to ua b)l Le Corbusler, Mies van der RCIM, and Fnnk Uoyd Wrtcht lor too long; ancl ,..., Indeed, hevc ~n ~ the diluted -~ of thm dlscovnle!l. 10061llg our own JTUP of t11e rc&lltlcs ot our time, ot our human problCJJIII. As a tonsequenor, a tMdency hu becomt w1despt'81(1 In arclllture al\d In the other arts as well: a ~nd·

18/ dim~Nion 16

ency to look at tontempon.ry archlt~ al\d art Jn JeMral from the point ot vtew ot Its formal appearance, ncaltctlne Judgment on I'-' reason to exl5t, on Its 81rnUicance, avoiding debate on Ideas underlying Itt torms and Its matertals. We almost behave as l1 the forms ot art and ar<:hlteet\IN~ were produeed by some natural happen!ns. with no man partldpetlng, as l1 they were the ~ults of some kind ol Inscrutable ded81on lndltfere\t to t1le human problem. And yet nature Is not tonoemed with forms. but

manIa. Too o.lten In ardlltecture the lllwoory af. lect i.e substltutro !or the ffilllty ol man's tondltion, or materials and methods ol bulld· ll'lg, In a sort ot escapism that hardly haa a

}lel'8lld In tllne, exeept probably in the mid· dlt ot the •J.ch~nth eentury. To the arts'

manifestations have been eonven!ently at· tachcd such labels as '*vSsua.l_.' "per1omtin.g.'" ttc., an adding ot categories to eategorl-. In a rapid pro.:ess ot dbsolullon ol a universal ..,...., ot order eneompasstna all ways ol ex. pre&~ton seeking the reallzaHons ol slgnill· canoe lor all men.

Prottaslonal positions are q~tloned. ell$.

CWISed. often attackro a.s no lonae< valid, as It b)l mt'l'ely chanaine a degret or a c:uJTic. ulwn !t wer~ posslbl~ to neor.cile bask values In uchltecture and urbe.rllsm. Tile uchltect II aCXUMd b)l the "'>~ o1 abdication In front or urban ~ dtbet by

~!Mnl

to lnclivldual

~~

or: by

conwnlent aiS&ptatlcm to ~ J11Wo In wl\ldl Ill! at<>epta mlllor ro1t1 u .., oC coenwtldan or • • 11ut1rt ;w

udlltect.

It .. qat-. _ , to lnd Gilt lhlnp tiiM .... en lhe otJielo end. .., lhe POI&avw ~ llnot WrWit mol Le o.• ... ,...,.,...d ll'dllttct w "' lllot lhe ...., -so ., ; ........ ol .ImiDe ...... ....

WN~~C:

_...,to

s ··-

JI'GII!UI8IW and modon! .... . _ biG -. , .... ol tM Mt pnpwlla!ll,tl en tile .....,.. _ . . .

tlon thomut .erloaa. UaqaeatlonaiiiJ ~ - . . .......... CNII8!I - .... ~

-.1 . . . . -lillie of dllll$0. wtdl ~ JNI e'lclllr'lfla•tr• a whldl .... ........ ~....,.old.- ........ .. olllll' ..u.lc ..., lrlllllll, . . . . . . . . . ...,._, pallry, and -*- ..... fll.

u.. - - · _....,.._ ... I'IMIIII.

• N¥Git- . . . . , . _ ollheoN-

•woa .. _sos IDIIIII.IMl••'•' IWI3f llllltiC!ol....,.._...,_ , IIRI,

.,_ .............................

--....

bela_....,.......

"New

peroda•. vivid, brutal •I*U anc! Sft'lletltnl tnnlcly nhlbltld wllh no kletllizatlon, 'bllt u

attb !law 11een recaa "'''" Midi lll'am. . . . Mlldlftdow ..... MlctJIIIidli; ..., .... ~-

Ilan 8ldltl.edl!n,"

"M-

a-111m,• to mill·

IICtu...,, mol ..C!!bnin. ...,...._ -

and~ Ill~..,

... -._.out trom ... ......... -'-'In tMir

~. .

CIWI! . . .

the the

a tllodc'"l - t i o n of MPeCt Gf the mltertak alene. In lila urban the devtlopmcat with no lnhlllltloa. the ~ ptntmtlon Into Ow fallrtc ot ell)' lit' ex~YI and Ci8MIIe~-~­ eomecl u ~ ,.ntfoecellono ot a )llleI\OONN, . . ....,., QPI)OrftlnltleL

1 _,. to r«aJl the cb&ntelerlstlcs of that tendency In archil~~ that hu o:aUed "New llr\ltalWn,P not • a controversial artun-t. but u the m081 alncere 1enera1 attltuct. in archit«tw• today. as It Is pr-elltllt-.1 by YDIIIII ardll~ bere and ta Europe 81not the lui 10 ,_.: 1 am sun It II well known to )'OU. Ito cltftnlte hlllllstk: pndicamrnta !.... ~Men of ~ lnqlonanct. It to nv. In IIPOftlln& the ll'am the Jluld 10<11'1 "Pf::llnnllw lK-., In the -..aundllll IJ*e, Midi hu ..._,the bulc therM of modem a:diiC41<111re. An6 Jt1. lor all !bat, lor oil proxlmti)P to abarort eK~tom.n to ntu.k, -lallsm, and z..,; tor all tholr panltlpetlon 11'1 contempe> ruy phlloaophlea and actiON. th- tomden· cl& allow atthlt<'ct\lre to stay attacMd to tho rontln~nd& of h&ITO\Ved down exper~.

'*"

a' c. of the -o6&tlau, olllle CUiftllt . . . . ~ ...........-...J----oftbol r ecll<iiwb physltal nature. and In ipiW ot IIMir -.ted prlmlt!YIIDl, tbey -.17 ""' up to the·~'* of prulllenl& that-.

Cor .....,, of u n t - nature. By unlvtMI*l I m..n th• ptherlnl of the old ancl the llA!IV, tht archaic prtndples of human 1Uitw'c and th• now prlndplea poted by_. ...,.ration.

The qll8tlon In archltecftft Is to taU abaut !"- prindplf't wtth • 001 s!Aalt aan..-.; that 1o1. with an I~ apable of tadlbne the probltma of our em. u...,.... ol I ... rftiWD the ban por1cd to period.

Ewrytlmr we ~ anilltAICt, ..,. heW! mt1 or ~ haw, a dellnltkln at Ui:bltun Wrtcht laid 'a style In ~ far -.-y ttytt ol m11n." Yet . - , dtllnllicn that tr1ea to drcumsc:nbe !be 11m1t1 of lbl! ....tm of ardlhecnn WlthiD kind o1 formula II bound to be aRitrv)'; u.r. .1ft

.nc-.. ola pnc;w~ of a IMe. ot twd

..

I

no ablollate mar-riltlel and prtvllotw Ill ardllh!CIW'~. II luos ~Men c:aDed the art of rpaco, the

an

of rltythm. of the '-rtDr

~ IOIId..

llr lhe

~

"the -.trtwJ J-. to

....,.... NMn_P 'h JW, if intrOII*IIon 011 ~. I ttnd

a -tol ...,_with cne 101\o !Ieite.. that an.-hit.Kture Ia • dlao cowry ol IUrlltatlon, • o:<>nstant ~ 01 IMUure wllleb t.lr~ every part ot tht constructiOn and the inlin<diat" enw-onmmt.

DoN that _...,.. illl1,. from ... belonl to

man alone? r

<milil>t •Y· l

onlY seem to

NNiot tltat with U.. """''*tlon ot • lluiJd. 1n1 a __.. Gf the apeco II e:stablllhtd,

............... u.n - - And """ to - • doealt!Gn that does not p dude utY of lb. Dillon. of ~. I~

tk', ~ -a! dluad«. In filet, It ~!han.._ With no u..._, Undaabtodly, the iiW1 Ia the most a.~'¥&

-·--·t

at any llnw fer 1111yllolroc. So It Whfn your p-.. II P-o when :rena iiW1 to - - aloaut 1ht .tit. when )'OU - -~ to JUOD' lblnd of lhlllp thU )'OU ~. to "'-"'PP iiiDIIMIIl the- ..-ad llr when ,..,... - . to •eecc:otlat In It the _.to lor oil thlnp follow, probably 7011 haw what - ~Men c:alled realization. Tluot no the

Ia lor

~-

the-....,_

most d!ll!cult INlmfnt; you gl'Opl> tor tt.at 1011 of lalowlfdge that makes )'OU .-rr wiUI!n )'<lllneil the el<lst- of llOUta _,.ums, theatres; not In III'IY particular way, but In their Intimate sllfllftc;n~ tar man. b' its «>~NNM~nrty. No procnun an lfU you about tha1; In tact U happe,. ~~­ you rMd one. to allow you to spell 111hoUees. ~- t!Matres In thf way thoy 1\rst bfocamr In lifo. u an ln•ptratlon ~'""' a utility. 11«11uw when you ..,.,. to ~hl· tactun you must 1hiDk that men lw ~ ...,.'- III5Pired to look tor 111e11 a thtna. not !bat ht last - f d to fulftlt a tllnctton llu! !bat a thoucblful will broufht tlhn to 1IW lleclslon of bulldlnc. his ....,.,_ &l'f' nc1 only lor the ~ to d4nl prct.ctton of ~ or ~ bul I'm U.. bak ..uty that cdl1""""r• am c!.,. to ldmwlt.

You art an an:hltHt not beca- you .,..,. "'cmw"-." but bocluM you an wt!Una to panldp&tr ond t~~peble of IMfl& Iorin to What ,.,.. ot bqe. hUtnan p~Wtlornotla-tth your thought, your W\11 and What le cal~

'""'CI.natlon. Tht.s 1e a very dlmt'UII word milclutU·IuirtoltJ, - • I of wltlle rroi<Unu "4rlhw••t

•ww

"lmae!Mtlon." BoudPI.aire ailed It utM q-n or the l&cultw.." and said tllat atnce It hM cruttd the worid cso mud> .,.,. be sold ~en 1n a r•llP.. _ , h 1s proper that It shOuld porn it. Somo pNlclsopher said that Wllat taka pla<w In a WQrlc of art 14 tho...ht. W\11 and <native lmaglnatklft.

Thoucht 110M Jli"O(Iucn wotk of pllilOt!OJihle and IICienllllc thlractor. WIU akme mikes ttoallzatlonl ll'IORI. politlcal, and soda! natu,... Tht Intuition produc:ing images Is \Ohat mookos man produ<in& art. Tho Imagination t>Wntually erne.. lontlll whi<h is a sign ol mor>tal ac.1tv\ly and ~Is what cannot be unMI'sfoocl ol l'ftllty by , _ , alone. and al10 It l)'llthftiul the ftP!iltoK~ of the

or

-

Now It Is from thlo polat, !'rom the point ol rulizat- ot tht human pbonoaoe..a. that )'011 mler the throsbold at &rdolt~; and 1M pietlft, thing$ loti Ol l.hinp CXlfN! of v.1lldt you don't lmaw too much. 'Ibt ~ .. bow much )'OU stlould Jcroow 'Nee t.oduwlocy. for illltiUJ<e. Atdllte<ts botn nmntn& ~ t~ FOe· rea fol Its _,. .Ut In a patNl1c ~ ..mlcll tao olton .....,. them foradlul that t~ lllld .Jnady what they ....,..,, ln this Tate. thfy loll conltct with those primordial I~ that "''" the very naaon ot tht archi· ~ phenomena. Quito on... th•y oblit·

tntfd thml; and 110 tbty botJ&Jod ..,.,...,. lor somt kiM or eukalion ol teduiUioCY u an encl In ICatU. a conwnlmt IOibotituttcm for the rtfldlt)l or tht ..uo.c~c laws at the am demie perlodl. r do not hb ~ nm Ia _... ~~ox-. anc1 r am ....u aware at the ~mpor. tanct Of lfeml.. ...., what Dftf II alJooloed to do: IIIII tedlnclol)' II a produ(t or clr· ~ anct • audl "' 10 be UMd ancl ~ttd. In fKI, from the noomeut Of naJ. laUon, all thlncs bea>mt fnYCivfd In CU• CWNtanc<s; you !NY deCide to build In steel or ~c ~~«<~rdlnl to tile oconcm.v of tht plaC\'; the dH1In Will be atroctld b)-1M lite.

1M ha~ll' tht materl&ls, the climate, and even curTOnt fuhton or lUlu. But tht tdft of house, ~. theatrt wiU nmalll the ~rk. the subdlance of )'VIl7 re.Jira· tton, u.pon whkh all the othel' variables wtU be Z'fttlnl.

1 IO¥e nlnlom!d mna-ete. I believe It I& proba bi.Y the most to.autUul CIOnSil'UI:IIon has ~ TM lcleoo of syswm maldnc ltJMCI Ilene Into any form, aupert« In queUty to the ~lura! because capo~~ of so-how mac1t ,...,htlnfl tension.

Today's plothora ol extraO<'dlrlary !a~ ha& probably diminish~ our ability for enthll$1· um. but lnd<ed reinlom!d ooner~te Is able to aroUit It, Howner, when you thWc that tilt eolutlon of an lmpentatlc system, Which

-n

-=

II SO tllaratlHistle of ~lnf~ COIIcrtlt, II a Yerif)'lne opeo:atlcn or hiJII com p~ex;cy, t1oue JOil ~ an example of 11ow ttdoooloO' Is C<lndllloned The form I1IUII t.. real!M! out of purely stalk <onlfclenllona.

110 to spoU. "'n•'«1ed." In orcler to be thm empirically CGl!lrolled.

It lillY IOIIhJ ~ bec:auw: It r• ~ tht avallablllty of :luslllla.liOOIS, ~ut thl ldoa that Ptotrress in techlloloey lt01ds to procrna In art does not Hnd any bt.Sis tram a crttlcal otandpoiJ\1 either. It would m111n thtt poortods of e.rthlt<!etural history when "rw:tural commUments and advancemont we,.. not I>ITM'Ount should be c.>IUlldered clfoodent: e.c. earl)' Christian uehitecture veraus Gothlr, etc. One may have the notian that tho to.:hnlcal limitation• actual))' <'DildiUon an(! dettrmlne the lmactnation of tht artUt. Whit wo:ms true !s that ewry art hils olwayo Ito ttdlnlcll limitations and tllat probably !>eYer did the bulldlnc 11m11 or htlp ~ process of maklnc amu.

~

•"'*'

,..,luloloey

bC't1mt t c1o think, ~~owev«. that the inblite ,._ lilT of new ohepes and tama so vislbl+ In an ~P&--t1111nlts.

that N<"hno!OCY

re&u\a, ..,,.,_ an tn1lsform.

prod~

lne our HIIM of ptrt'OPUoiL 1bey contain an lnhamlt plutic, thrtomatk, and sometimes 'trucl\lf111 character, and unq uestiolllb!y a

now eltment ot extraordinary YisUol J)oiWr bu been addEd to the others. How mueh tht:v a.re capablt ot taking the p~ 011. structures of ombollc slgnU\eanoe such u a town hall. a church, a school. In other words architecture, Is a dltrerent questlon. ~attempt to rei¥ on such functional sti:UA:· tures In plastic urban conflgun.Uons haa been ever a l.tilure. Refererwe points. plvott of urban rnoveoment and exchanre. they must nte'n a symbolic character, represent, IW!n· tlty th~ dt11ens, It thf:Y "" to be of reel lntenst as a spllituaJ and a physical focus.

'Ill• 'R<lme of tho buoque age was planned In that Wily, with large -~ Hnktnr <111tant polnca; but too Werv lndoed ba· llllcas end !O.IlCIUar!es, town hall$ ancl aqu._ duett. You <»nnot make a gas lank or • po~rldnr prage a meaningful pl-. no mat· In how

tar~.

What you Tol81ly learn trom technoloey and trom the ellgtneers are extraOI<linary thlnra: like the fa<:! that you ean taJce a bl&' pi- of a bulldlnr. pre!abrteated. preo~.at, and with a huge cr.&lle erect It on the site.

You learn that you can move air qW<:kly through a bulldlng, that you can molc:e tht buUdlng resist the wind, the sun, the water.

You learn also tllat these facta are an Inti· mate pan of the life ot the bulldln1s, that they come with its birth and should not ba

~ta.

They have to be planned to the best out of their work. A l>ulldlng the belil out o! their work. A build· lng with the same panels of glaa north and south Is some kind ol an abatraCIIon. You 1\av.. to distribute the heatlni and air In It In some tortured way; you have to !OI"'.le the building organism into an tmbalanoe In order to obtain an aesthetic result that Ia preconoelved and lndepmdent of Its reo! 11!&.

And yet realism, the realistic appredallon of facts In arehltecture, should be arnter than •llY lnsuJ'Ilelen.:y. When there '" nothlnr to aay, a realtstlc attitude may teU 110 how and why there 1s noth.lng to say.

When, .!rom reali:za~Wd you step Into the are& ot perooptlon, then the s!CII}' of the Spa<:os begins. "Ard\ltect~ l.s the an O! Sl*'e." What a wondertul. PteCJW.nt deftnl· Uon ol architecture that Is. "The puttSt tingle .fact ol building'' Wright called lt. FocU!on said It W39 "the great prlvU~ ot ar· ehitrcture." We all love It, and yilt we are n~ver quite sure of Its meanlni. Probably it i• a great definition be(a~Ue of Its ambia· uou.< c:hara.cter, be(ause of the doubt:a and lndeci$lons tt arouses, the doubts and lndeelslons without whldl art rould not exit!; In fact, doubts &~ the fertile sou of art. SomAl Interpretations a~ pby$lc:a.l, others lt'anaotn· dental. Some architects like to think that lUI

aet aet

uehUectural space must ma1<4 evident the "how'' o>l Its molc:inr. while othors J)T'eftr to> Interpret It u a more renerlc reprQtntatlon or the things that should happen In It, that should fuii!IJ a .function or be evo<stlve of a .function. Others again ar~ lntemtod In the notion of space In a &trlct visual conteXt, In the pers~ves ol <avltles, in the numerical rappo~ of Its parts or In their tluld d.Y·

namlc

seque~.

For my part, I shall lll<e to Wnk that I am not me~ly doing a compromlM In •Y· IIlg that space in arehii<K'I\U'fl b nolths phy$10!1 n<>r ~enlol l>Yt b, l'llthtr, "a point of appll<ation" wooe the arehltectw'al lma~ Is realized. Iu experience 1a the peru. liar pbennmeoon ot arclli!A!<'tUft, all that dl!lllli!S ancl welds togetha- the -'&1 <'On· tents. the teehrtk:al lnstrluMnta, and the expressive values at every ~1. trc.m poe!rJI to pro.e, from the beo.uti.tul to the urJy. In· dftd, the ~.and In p&rtlt'Ul.tr the Interior spa..,, Is the locus where all lnllllf<letatlons of architecture are applied ami quality themsetve& And beca~ those manllA!slatlo"' of ar· ehllocttu'e derive from urgenclu ol lite It· sell, the space changes (01111guratlon In time, from the c,..,ks to the Cluiatlana, trom the Renaissance to Wright, but also oontalna those immutabl" aspects or evoeatlon which

-24/~16

art related 10 th~ problems p~ by man and whk:h arc forever the same. Every spate mu•t llave ltG own definition wll"re to pla,y, to sleep, to aludy. to be In company or to be alono; and theteln can be NCOgnl:!ed the unlvorul ctuaJllles ot the $pace where arch!· teeture becomes an an.

One ol lhe ('C)mmon confusions in the Mn· sidcration ol atd>Uectural ~ Is the rela· tlonohlp ot the tndlliollal ways of dea!lnc with ll A. Cothk cath«<ral am sdr our HfiO. tlorla, but an lmllatlon ot a Cdhlc c:alhedr&J may not. We ha"" been totd tllat contempo.

I'1IJ'Y apec:e Is ~<nderstandable In a time pr<» •ss upon wldcl\ moverMflt has a determln· Inc role, and that this Is contrary to the metaphJ>wlc aUUm!Sll of the space In the PM! --al4o tllat archlttctural space. is di1!'4>ftnt from the apace expe~Wnced In palntlnJI: 8Jld sculpture, tllat a "natural" architectural apace Is totally different from the space <On· tlg11n1Uons ot natun>. We also know that It Is Intimately tied with the personallly of the architect: Btrenson ~marl<ed that the pre. oe<upottlon of sNdylng ~;pace produoed a eort of cult ol the space In abstract, con· trary to the notion that art "must be taken aa hi.IINn experlonot." Groat !mporlanoe waa -'tntd bY the makers ol eu\Y modem arel\lltc:ture to the - - Mlatlof>. shlp. Todoy we ar• ~ ClOD~ with the reality ol tile Interior. of the world ol exist· enoe lhat takes plo<lt within walls, whenr people look at ndl other, where blnh and death t.kt pia~.

Thll applies also !oJ: the W't>an environment. 1n the urban contlgura!lons this nlatlonshlp at ttnu.s assumes the most curl· oua ~. with transpositions ot ldeu back and forth In time and place. How orten we have been Jncloctrlnated with Italian pi· azzu and the puaphernalla ol vtsu.eJ rapport between bullc!lnp and open spa-. The "point of application" of all the forces del!n.

Inc architecture muS1 take a cloar physical tonn: The three ~lmlents of tl\t> t.rtonk: IM floor, the walls, and the roof, must 8),)pear In all their Integrity, undisturbed and unclut't~od bY the superimposition of sueh eon~t

noedo as pipes, clucta aooustle

a!t•rlhouebt. and other amenl!los. n.... el• monts .., the oolemn statements of arc:hl· torture, the wry parts that you outhl to respect It you -.dl for an ardll1ecturaJ s.-ce, for ~ represmt the "'"'Y dellnitklll of Ita unl•tnal ~ lt seems to me that In the "reddscovery of lh• tmmu. table elements of the spal:'e" ~" the tOUJlda. lion of ollr atU\Itectlue. not only In terms of bulldlnr and endosureJ but also In the devtlopm.r:lt of structures that form tilt> oore ol ellles. It Is In the ~ o! a sense or pennanency as OPposed to the epherMnJ of cii'CUill8t.an<le, that we will be able to lind the alphabet of our ..-cltitertural expl'eS!Ilona.

Ltt me illustrate with an historical ('Om. p&Non what I have In mlnd. The baroqur dty was buically a cluster dty, with orcllards and !umlands between groups of bulld· lnp. Ita term was generated by a eerttl'UII· cal dynambm !rom lnsldo of thosr build· lnp, P\-am a core from a ~ hall. tile -

modlllah!d the walb, ~ • -

eel comtnuum throllgtt the rrand ~ WheM even ll<lrws C<lO.Ild be liddon; II peMtrated Into the shade of vesi!Ou!es and colonnadel; llnally It extended Into tile open, In the a~acent streets and squat"ES In a multidirectional architectural sequence always lnftu. enced bY the lnltl.al dynamic of the Il1terlor. nun centrl.lugal dlm~on -ms to explain the eo»tlnuoua vibration ol the baroQ~te ttnl<:tUres. the plastlctty of the lnt~;.,.. cat· rled outside In the St. Icnatlus. St. PC'Ier, and Palii<Z%0 Cancnano.

It seems that our ~ t<lday may be defined as dlreetly In reve!'Se. Cities wtli be blecer and feww. A dynatn~~m of move-

,.,t ties <ll.stant urban reg!OI\S In a 8'fllU!IIc whirl with multiple means ot rran.portat1on I'WV\Inlj' from th~ turnpikes and the alrWaya.

Our perceptions a"' now conditioned to a new s::ale ot movement. ••movement," wh ieh II the modulation of our tllne o.nd thet reo oolves lttelt from tl\e open eountry to the fraetloned rhythm of the clvle spaces, even· tu&Uy to the .--Mng $paces of the large -~ built !CO' many poc'p05e5.. It .. In the stU!ness of tho!e &truc:turel, In the c-t spans, In thek' JU$SIIJ'Ing eharaeter that Ill' chlttclure In Its prlmor<l•l meaning wUl be round. ~ bulldlllg becomes the format!-., element ot the urban structure acaln and not Its pmpllcral <Oill.1llellt: and the Interior •l*'e will be the resolution of that .-.. ecale dynambrn, external and ephemera). bWnd to obllole~ and chan~. In the In· tenor space, the human d!menalon, pllY'!eal ""d apiriNaJ a. wen, Is to be re.<!ttabllal\ed.

'That may be one of the ~ Why our &I' chltecture wiU be MIIVIer and more perma. nent In character, a kind of for1rea5 ot raJ. lty In "" evtrdlanrfn& envlronmmt of new needa and <lrcumstanoes. And thne the a). phabet ol our expnsslon will develOP from • of .,...,.,., rather INn realization and a bun "nnttlless ..... pe. unpremeditated

cesNres, v1o1es1ce.

IU!Iiratlon&llties and ~·

erie action."

To quote Edgard W'md: "We eannot solve our problema. even In art, by ~rullnl that we act as pr1mjtlves; the pte ot the old pere. dloe 1.s ahut; - m\ISt look tor a new pte at the other end."

1 would like to conclude here. Because when the moment to be ~ with ~ eomes, the early st.ges of an Ide& of ..-cltitecture are over. A pereonallUd atory begins, lhe manifestations of ex~ona that belong to you: the !tnt tallzaUon &nd its ope.~ reolut1ons belonc to the tr.m. work of llrcldtecture.

CREATIVE SKETCHING IN ARCHITECI'URE It Is a hot summer day In Nllnes, France.

As six architect~ slu~ts approach th~ Malson Ca~. tlve ot tlwm begin to conccrn the~lves with photoeraphing 1M buUdlng.

Th~ a~ on vacation and wUJ not have tiTY14' to spar~. In order to study the temple. The sixth student takes out a pen and begins to make a caretul drawing ol the Malson Ca...w. whBe the others hurry to and fro buSily cl1dclng their shutlers. Flml\Y th4Y nouce him, and as1< why he did not brine a earn~.

Tbq teU h!n1 that sk~c.'hlng Is teo slow and that be wiU not hav<! a """""" to .. _ .. tlw ~ n.. ~cber tlwn ..-opoou that one ot thom. and himself. shwld both la<e

awe.;y from the buUdtnr and attempt to sketch lt. The cho.sen photorraplter cannot recaU enough o! the bulldlrll: to complete a sketch, but the sketCher completes an aocurate draW路 lng. He explains to his cornpanl&ns that one clear vtew Ia superior to many casual glanreo.

The buUdlng must be sketdled. he continues, In order to explain itself to the vieWer and to clve him an empathy w!lh Its form. By drawtne the temple you fo~ yourself to observe It, he concludes: and you cannot miss a put or fall t o - how the perts relate. AS they walk, five people think of traQ!ng their

cameras.

Riehard D. Ahern was that sketcher, and

the above Incident Is true. lt happened In 1951, wbile Mr. Alwrn was cettlnJ his doc:tarate at the Om lnsutute of T~. in Graz, Austna. He had. one ~ prevt. ously, gnduatocl from the MacsaehllUIU lnstitute oi Tochnoloty. Durlna- hb stlldl<!s at Gru, Ahem waa ab~ to travd '"''"" slvely in Europe. Aller he returned to the U.S.. lie workocl as an arcl'tlltcturel dos1fner, In Washington. as an assistant Prote-. ol Architecture at Kent Slate Unlvmlty, and as a dty.planner in DeiTOit. ln 1960 he lc.tt the U.S. lor a Meen month world<ir<>Unc trip.

Ahem visited more than twenty countries in Asia and the Otlent. It wu dllrlnc this

,

• ' '

r. '"'

'

stu<ly tour thAt tw. IJ<>Qime Intimately inY()Ivoo In the af<'hltN.1ure ond cltlcs ol Asia.

Lt-cturlng and Jl<ctchlna. photographing and writlne were Ahem's maJor actlvltles durIng his trip. Sin~ !hen he has publl'lhoo of his sket<Ns. sold slides on AJUa. pnK'ti«'<! &rdllte<'lure and planning, and lee-

lured at such plaoos as Columbia and Har· vard. II~ now resides In Ann Arl>or and prortl- w1>an d<slcn and archlte<'lure.

From his travels, hls sketching. and his pract~ of architect~. Ahern belle\·es that he hu found strolll patterns In the creathT ..-oc- of ard\ltectural tllou&hL He ~ thai the tdU4tlonal &per1mco wblcb tbe architect un(lercoes does not always equip him With the po'Oper tools to tully reollae the capablllti<s or tbe archltec:tural space.

Too often. plan anc1 ~-.tlon Jcoamlne 1n or· dn to satlsty func:tlonal requirements, ,... suits In a -~ or space whlclt Is a surpt154' to the arcblt<a w!len tw. linn trnverses 11. Nclth(or do ~Is satls()- completely, tor

they are rnthl'!' unreadable on the ground level. and mee.nlnel..,. 1tom above to one who wishes to experience the traversing or the archiii'Cture.

By s ke tching. the archJieet Is oble to gain the view ol the Inhabitant or pedestrian. U he understands the nature or the cltl<!s •round hlm, he may better understand how to crt'Oie superior cities for the future.

"Pinnnoo" architecture may be superior as to !unction. but the experience ot Jl<etchlng and learning will create a more beautiful. more strongly lclt archltectural rmllzation.

The draltlna board Is no substitute for get· tina out and experiencing the pauems and actMtles of reol ddes throua:h \be medium of aketchlna. Ahem felt that tbe maJor pur. post or his trip was to ga1n 1\n'tMr Insight Into the <1cs1an and work!ngs of the dtieo or Asia.

The urban situation toc!AIY roqulrea R IM!W app1'08ch to deslen, The mau Introduction of the automobile has fol'ffi! upon the city space new and somellmee ftralnl'<l n'CIUin!ments. In the contllrt be(wC'('n t!w. car and the pedestrian. t he ol<l d - ol urban d<oslgn are no 10"11'!' valld. lt Ill . - r y , III)'W Ahem. to tlnd a new Y()CIIbW&ry of urban design foe the twentieth c.ntury. Ttw. direction of design roc the ~tral dty. and aJao ouU)1ng ....... WIU onot agaln ~ the pede~. tr1an. l'n!dncta !or J)fdellriano only wiU apln alst In our dtlel. 11 ,.,.. throu.Ch sketc:blnc and expetiendna the pec~ee<nan quarun of the dtW!I or that Ahem bepJ1 to cle\~lop an tnvt'lltOf'Y or expcorl· 4'n<eS with the padftltr1an By drawina. one an lam the .._ of IPII<'C>. and dorive prlndples behind •ll'ectlve •1*1&1 em~ menL It taka a enat deal of ..,.lfMty to design a pedestJ lan-orimted, open«lr '""""· Sketchlnl from l'ftlllty can a.ld one In dew~ oping th.la ~tMty to •pa<'f'.

Color Is a word that Is too ort<'l\ n('gl<'<'te<l In cltl<!S. feels Ahem. At ftrst he aketchoo In pen. and OCCII.IIonally used a maatc mark~r.

In Nepal, he ou~nded o lecture-demonstm· lion of water color techniQue. It did not look too dlftlcuJt. so he dfdded to try it. Arter some unfortunate auempLJ, h~ beg$n to work easily In the tr>OOium. 'flte best or Ahenl's sk~tchce employ a Al'nsuous Ink line, comblnrd With ~en•ltlvc yet rich, washes of color, The uso ol color helf'8 one's understandln11 of the archllectur~ of clllca In more real term.t. Color and texture make up much of the cltYiaiJl". They help t~ftne the ·~· and Ieee! the pedestrian on. to explore tMlr own ,,.r>·lnl pancma. By worklna In color. the ardlltert ~ more ~Jl(~ ble to the •PI*~ or detiF> In -'"Y Color ahould ~ pan of the arc:hltert'a crea. thlnk!na. but too otun 11 not.

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There Is some artist In &lmo.t evny archl· tea. Ahnn beiJeva. and the ~ dllfor. ence betwom the arc:l'llte<:~ and the artist Is that the ardliltc1 llkee to doal wttb pnctl. cal as well as ~ problem&. Tile l.lflt to be an artist doeo liMit In "*'>' of the professions. tho\tah. \Ylwl the arc:l'llle<:t

looks at cities as an artist. loc>klng for visual appeal, he finds that the ~ he likes to Jketdl are often peoploe. tree~. blllconles, sq. nwnta of bulld!np, mul<.a, and ocher D<ll>foomal elenmts. Tile lnclclents of dlllly life carry the visual Interest In the city.

What ·~ to the urten clos!gner as an

,....IA!St

artist Ia the lnfoomal .,_..., ol the dty, the local points of IIC1Mty. This pllno.ophy, puwd throu&h sl<eldllni and ot.orvatlon, lnJI_,.,.,. the wt.n ~. He IInde that the ~ he liked In the pll(ea he Jketehecl ~re not always the I&JV, formal ~ta of the city plan, but often Its very

,.,.,nct

JBnem of "ilvvn&MSS-" 'l'1\rouaJI sl<eldllna. a prooosa of CI'CIIltlvlty fDr wt.n cllsien, and ardllttc1W'e, can be ruiJud. Sketdlinf will help the ardllttc1 to .,....te a more humanl$tlc architecture, through • heightened ~nnancllne of human ~e and experie~. The urban designer ,.., .,... to

n!lll1u the fuJI pmut of human experioon<>!

In hlo dlloes. Tile archltea and designer must not f011lel to pay attention to the drama of dallY Ilk for \hey wtll Invariably all'ect It W1th t heir cre.lgna. On the other hand, one shOUld not renct qalnat the lonna! and be"""" "''er'ly PftOCX'Uplecl with trivia. A bal-

anQt must be ac:hle\'ed bet_, the formal and the Informal ek!mcnta Of <181(111. SketchIn& can Insure an unclerltandln& of the tat· ter; the architect's formal td~~a~tlon assur8 knowledge of the f~.

Sketdlln&. becaUR ol Its ,...,. natW"e. c:aiiSt'S a learning . , . . _ to OCC\Ir, \Ylwl

'

one chooses to

Sk~tch

an exceptionally Inter·

esting subject, hto CM~tts a means Jar leomlng and remembet1na both tbe subj«t Itself. and what was superior about lt. Once while

In Marburg, Yugoslavia, Ahem was observed Sketching by th~ pollee. They confis. cated his drawlng.s ns he boarded a tra.ln to

leave the city. An hour later, across tbe Yu· goslavlan border. he at down and . .

Sketched the placts that he had orie!naUy •tudied. Not ooty did he remembet' the bulJd. lng,s and spaces that he had Sketched, but he wns even able to Improve a few proportions that he had ot1glnaUy mlJ!ctllculated .

Ahem believes that there Is a direct cor· relation between Sketching and design abU· lry. If you cannot do thumbnaU Sketches. you are extremely Umlted In your expert. mental design posslbiUUct, at the very con· ceptlon of the archltcc:tuml Idea! By Sketch. lng, the architect'$ vocabulary of spacial un.

<lerstandlng can develop enough lor him to

be ab~ to expct1cnce his spaces before they are buUt tn conclusion, Ahem believes that It is only practical lor the architect to sketch to simply lncret~&e his graphlo abUity to bring his ld~ &CI'OOIS to others. The clarity ot spacial undcnotAndlng that can come only

through drawing nnd observing will open up the architoct'a horttons and lead truly to a more tully creetlvc way ot thinking,

PGI~ 36 /

dimnuron 15

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east elevation

I o morld "' ("(Jiro

ONE CONCEPT OF A FRATERNAL COMMUNITY

•.

The tratemlly complex Is tl'le pl!ys\c:al base ol u.., traternal concept Fl'aternal concept states: a speclllc social structure of the appropriate scale )'ields ellleier>cles ()f ll'ldl· vidual adaptation and development through

group guidanee; a social structure consisting t>f persons J)()SseSSing ditreTellf tempera. ments. talents, and ronvlctlons provol<:es adsptatlon and development Fl'aternal «<n· C<!pt manifests itsel! in a prooesa of sele<:· lion and a living environment I am COil· C<!med with ~ physkal <m>b<>diment of fn. temal «mC<!pt.

Exi~ting p~loll m~bodiment.o or !rate!' nal oonoept are inoompatible with W\lverslty aitruJ. The lncompatlbUity Ues In the degree to whl~h lndlvlduaUty is sw:rendtted and one's own judgment I& sacrlft~ To Insure oompatlblllty, the privileges Inherent In th" university as a soc:lal Institution muat be ex· plolted and relnto~. The lreedom Al'ld lr· responslbUity of the student must be enooUT· "lled to seek new ooncept. The indiVIdual must be respected. Th• ~TY student or1· entation must be a<:ademlc. tn short, the en· v1ronment must dlt!erentU.t" and express ~ lilt lite of the student singular.

that -

~ • bQic cocrmltmem 1$ mo4e a con

tlnuum ot clealcn direcllolo Is

pro~

'tWo obMrval1ons oboul tile slngulaT llt.t or

tile student .... IJ'1mary: the 6esk Is u.. bell .-...., fodllty one can provide; tilt maJorl(y ot llvtnr and study acttvltles an ol. an 1ndiY14ual nattn. From these t:artual trat•m•nlll a ~tlve oomrnttmmt Ia tormulat..t.

AAliJI to tach "d.wlllng unit'' an lndl· vlduallt;y ln~ratlng within the unit all proper and rt..onable tadlities to promote ••m• u a partlaJ entity ol student Ule. CJr. cantu tho lndlvlc!ual dweU!ng unit 'm'tlcallY with th• Uvllll and study spa~s COflllfCt«< vlwaUy and phyalcally to 1'II11Ml' the ftlrilnc ol a 1bi,W.r and wllole spo<els) ~ 1111 • ,.n.cy ot loncllons.

To dllf"""tlote and express the ~ of tile lndlvlc!ual, to lll)ect 0.. elemellls ol t'l>ol<e and wiU as one ,.,...,. t~Jrouib 4allY Ill tl.!t, llmlnC• tl>e lndtvldlW units In a •podll~ ~. Orimt all lnd!YIIIual ~lllnJr unilll upon O:lhiiTtOn ~ U· tnlor lp&t'f> on an IJS>lle!' level and ('QI'MIOI't Interior ~ Clll a I~ Je\'el. CThus di· rect a«-eu to all units .!r<>m the extmor apace 1.1 balanced against •~ tluout;h the tnr.tern.lty proper. The spatial arnnrenwnt eYolvfc! b ot vW.,e character and Sllll· CHIS a homoetnoous Interaction ol llelerog. enous Individuals.>

Pl&oe the soc1a1 and semoe tadlttieo lineally a»nr IJ>e <T06S ~ of the v111qe oppoelt~ the entran<.'e to tlw! ""'orior dock.

The orda' of ....,.-.,., lm~ - • • the ttCOncl.ary charact« of. !"- WlillbtJiiiY Mkl SJ*'eS to the lndlvlclllal ~ unlt&.

Ex~ o1

the 'l'lllace cros5 action ~b!H

the lnhab1taniS IO lUter dlftrtly OUt of the .:a~ poaNpwaya Into th- op&<'K. The formal P\''bUc entlanco? de!anc!$ at lhll trOU M«<on. Ortent the soda! and !IOI'Yk>e

·~ l.nwar«<y upon a

--oed

""""YU'd

In oonalderatlon of ~ 111te nstrldlons ancl pecltltr1an ttalllc.

DUr•reU..tt and upras the <«42fn0n acedemle tadlll)' u an ouhftrdly ol'lenttd tlutet1on. ~ ph,..lcal fDnlll& a ddnl!.e Jownl)' Is ~ ., eleri:lent ot busS. -11M~~

f~My ...,.,.,..

Ia

~ ~tile

.. "'*'" to eotablbh added of. •Ui<s and

u. -

~ llf'OPft' ~ ,.,....,. to -u nl&l<id flmctlot& n. -. .s.mJc fMIIII)' b«<lmeo tlw! "eye" ol the

tun'*"'-

Sunly the otudmt 1pedl\c

ftel that ,. Ia

..wlrcmment, one «rawn tnttrcly from • ldnrular ~ of lite

OIJC'&tlnt In a

dltf.....,.t from 111\Y prev\0U51y experlen~ or tot..~oed.

"'

tlpn.f

'i.J

I I

-

~. d

' s, ,

dinwl8ion 15/ page 51

sllelves. One might expect that the rice straw would disappear In the tiring prooess. but It remained as a gray, hairlike ash where It had originally been placed In the kUn. Since are.1S where wads of clay were used to separate the p!e<>e$ fired light In wlor, a great deal of time wu spent In oon.sldering wheN to place these plea!S of clay.

They ~re functional In ~paratlng the pie~ of clay. They were fu~lonalln sepa. ratl.ng the pieces of pottery In the tiring; but once out of the klln, the marks the clay wads made had to have aesthetic ~lgniJicance.

The ftrlngs In Shlgarakl toUow~ a more standard procedure In that the work was placed on the shelve'!~ In the same manner as work that had been glau>d. and the firing took only two or th:ree <lays In the small kiln. Shlgara}(l clay Is loose In structure and contains only a slight amoUllt of Iron, hence a ta.st ftr!ng Is poaslb!e. In Sh!garakl, we disoovcr~ that while throwing the wood fuel

Into the kiln look~ simple. It required a skill which generaUy took a year to develop.

For proper tiring, tile !uel h<ld to be evenly spread across the kiln. Men were $lalloned on both sides of the kiln and they threw sticks of kindling through small "port hoi~" In the kiln. The sticks of kindling were thrown In such a mamer that they landed on one end and tumbl~ forward Into the center area of the kih 'I'hls might sound simple enough, but thtre was only an alley about on" toot wid<> at the front of sch chamber which went the tuU v.1dlh ol the chamber. On one side of the alley was the wall ot the chamber, but on the other side the pottery was standing In th~ open ftame.

Poorly thrown klndll.ng woul" cancel out many nne plecell of po!Wcy. Working with tll<l* centuries old tech路 nlques, one d<>velops an app~tlon for lime. tot" clay and the llrlng process, and for the ~lY In which thl& tradition thrlvts.

pagt 52 I dinun.tit>n 15

'I'M c:oUectlon of vtewt •xi)NSSed here a" <>nly c:wTe~>t expnssklns ol my creative judg· ments and opllllons at thls tJ.m.!.

1 am ...U •-re that IU<:h j<Jdgments exist <>nly to be tr..-nded by supenor c,.t;v., talent. ln the j ob ol cruung advertising, creative advenlalnr, tile uJUmate rnlua1k>rl o1 an I<IH. Is Its abiUIY to produce lUU!ts. nw,n. fore, If there are sound reasollS """'¥ a """' t rwy opinion Will produce bettet results Cn>.ther than cWmlng to be more <n!llliwl the cau"ous lntuetlons exten<led heft can be safely srnored. ltrn.tinter jtJnu, Hrtior ui.ce·pre•ident. C'f"ee.. tUM dir•ctor, and member f:t/ tM executWIcommittu~ campflcU~~wald e»mp<P'i.)',

deti'Qit.

MEMO TO CREATIVE

PEOPLE

Succtsstul maUve people In advertising aro aware, ol oourso, ol 11\e rondlttons the c.TUtlve person must a«lf!pt when he turns <Orl'll'ru!fCial. The oondltlons that, pr.sl.lln· ably, everyone accepts when they sign on with an employer.

Cre.atlve a<lvenlslng and artists must ae· cept anonymity, !or example, ln place ol the pe!'$0Nll lame they might have a~ulred ln the line a!U. They give up the .small sophisticated audl· cnee ol fine arts Clncludlng tine prose and poetry) tor a massive, by-anli·\arge unaesthetic and sometimes ~gly headlE$8, audience of prospects rather than or prole;. $OTS and painters. They have to sac:rill<» ~~ part of their self-expte$Sion to achieve

dim~n.oi<>n

llle kln<l of ereattvlty that best thelr etient's ~~ .

They give up -

•x-pr-

measure ot whatever

lnc:llnaUon they have for the Boheml.an attl· tude and ov~rcome whatever l<ock of lntemt they have hlld for the hard !acts ot bu.slnm.

Most Important, they aocept the very butc dlfler~no:es between aesthellc <::ffiltlvtty and advertising creadvtty. ot#tltttk cr~mWity v•. advarrisl.n.g crcalivily Punly aesthetic """'*tlvtty hu an end result diarnetr1<:all;yopposod to advertising creativity.

The dllference, as tar as I am ronc-erM<i.

Is the numbe-r of people who clearly rocelve the ml!.llllllge.

When one considers the popularity of the

l5 I pag• 53

typical Hollywood prod.u.otd movie compared to that ol the hi,ghly aesthetic Ingmar ~rg.

I11Atl type "art" tum. one mU$t conclude that the majority of people prefer the Hc>llywood p:'Oduct bealuse, whUc less c:reatlve in an aesthetic aen~. it is more readily under· stood. It oommu.ntcates-and communicat~ clearly-to almost everyone.

WMn one compares the nwn'ber o! people who eomprbe th< advel1 Ising audience wl\c> underatand Ll'l Abner better than Don Qulx· ote, It &PP<!*J'• tha.t creativity 1.s not syn<>ny· mous with communication.

A O<>mmW\Icatlon can be expressed creatively, but a ~IIIII! e><presslon does not neeesar!ly oommunlca~.

1'la more eeatheUcally crto~tlve 1M e><·

prwion, the mC»'e subjeetive ond esotenc it tends to be. Theoretically, at least. a c:natlvo expruoton ean be oo aootl\ettc that only its creotor really under$1ai'I<IS tt. Modem abstraot pairltb\g olfen an a.mple of thls restnoted aud~noe type of c:ommwllaltiOrl.

tM tr~D.lW mt41h' Wl';f.,,

~ cr•atiw «n.d

AdvenlsiJte, unlike a palntJni, &bn or poem. Is a creative means, not a creative end. 'Ibe cnator of a palnllne t.a )usUll«< wileD his painting ts Jude«! good, for the palnclnc Is an end ln Itself.

But the creatlv., adVfftlslna man creates only the means to an end. An ad Is not on !~It; tlle end obJective 1.s the sale ot a product or $<!l'vlce. It Is not enough when

end In

an ac1vertlstng auc1lencr says, "That Is a rood ac1 <or commercial) ." The audience must say, "11lat't a good product!" ~lore an ac1vertl•

Inc rNn may consider his work £uccesatul.

Another dill'~: The success ot an •••

lheile creative man c!oes not depend on his audlerwe'o ab!llty to Neall the exact name ol the hero he commemorated In bronze, the social oeeaslon tor which his aymphony was written, Ill<! ~y lady to whom he dedi· cated Ills ..,nets or who paid him to sculpt a $laNe tor the town square. The beauty ol his work can ~ Its crea.tor'a identity.

Th• tnlly dedicated aeswt1c artist Is not CNW-anxlcus about ~ltlon. That wW come as hl.l small but hlib)y sophlstiated audience dtc>lares that his woric is rood.

The outlve man, how.,...., must. as """ of h~a ftnt rf!SPOfl$lblllties in cammWII<:atlng a eommtrdal -~. establish an Identity oth~ than his own; the name <>! the prod· uct or the comll"ttY. Aesthetic art requires only that we recogniZe that the statue ol Venua Is beautltul. We need not know the name "Venus" to tultlll this requtwtwnt.

We need not know the "sponsor" who paid lor th~ aculptlnfl of V•nu.o.

But ac1vert!Aing, as a rut•, requires that Lf we communicate nothing mo~. we must communl.,.te the identity respon..lble lor the ap~ranoo ol the advertising Me$Mge. How Identity Is moat readily and mem<> rably establish<>d Is, hapPily f<>r the ac1ver· tblng penon, not wlved by ft.at. It Ia lm· porunt only to remember that whll• the I)<Oblen may not bost ~ solved by shslu of brand name or company logotype. ~I· theT Ia It solved by crying to minimize this vital tllnctlon o! a COl'l\mercial message, If the ad Ia remembered and the product

or company nam& forgotten <or rather nover presentod In a manner that woukl ~ it doubt. {lnt<!rprint d••iiJ>/t<fT)' johti#O"I

11udcnt

poss!ble or

~

to remoember>. the ad b

"'"'all,y a teO~n. The ad or c:o~ that Is

rt-mben<l lor wrlllng style or V1sual technique rather than prcduct lndent!llcatlon and coouumt"l" beneftt ~ be cnallve In an aesthetic- but not In an ad_.lslng sellS<!.

Creative ptople who choose to put their talents to work In the fi~ld ot advertising ususJ.Iy lind that ad·maklng proHcteney olten requ.lres more good judgment than mere ern.dc lmaeinat!on. k one advertising ex· ecutJve hu put II "We hire wrlW's and art·

its-we pay for judgment." Taste and just plain oound business sense are vital, too.

WM11 to be di/ftnll>and whtnnor 1<> be CnooiMty 18 c..Utd lor especially whe71

dilf•"''"

(l) new consum«r benellts (heretotoze un l"e!!llz.ed or non~J<lslent> ore required to give a bU$!nu. an advantage over c:ompetillon; 12) wt>en a more striking. memOl"Qble means ot c:ommunlcallng a benell t Is required.

The other forms of croe.t!ve expr<!SS!on

found In wrtllng stYle. Ulustn~llon tech· nlques and other mcdes o! ~ecutlng any looa are Important but subot<linat<> aids to the primary ~ponalbUity of communleat· lng. CreAtive adv<>rtlslng work is the proe> ESs ol expressing a new combination ot id""" In wants and pictures In a manner that at· tracts attention. builds reoogn!tion. tnhan""'' <:onv!Cllon. and liNives a m<>morable ilnp,_ slon. This creative manner <>f thinking and wort<lne Is appli<'d to the COlnlt\.rdal communleallons which ue intended to persuade the ~r or vi-. to bel~ something or do somethlni. lle<»uoe most prcduCI.s and serv!= adv.,.. t!sed otr•r ac!vantsges that aTe all too stmpl• and w•U undetstood. mu~h creati~ •trort ts exP<>ncled to present thm. In a manner that

m•chaJJical <k•ifnfprof. harold j. borhin./ un.weroily of michif""

\.

\

1>08<

appoer m""' Impressive, 14m obvious and rommon. TI!at Is one of !be of advutising ....-..tivlty.

But when a }n'Oduct or tervlce olftl'1 a clean<ut, exclusive, superior, bellevab~ and penu&sive benefit, It i$ clearly a mistake to apply creativity l n any way which would ob!o:ure tbe simple, plain expression ot that !&.a In copy and art. The wrong kind ot cratlvity can dilute and detract from .such simple, yet pemwllve, communlcallons as ••so" ott,.. No down payment;> or ""New washing machine needs no soap," "Ad~~V~Cto type ash tray empties Itself."

malce$ them

'oba

~opk GJ'In'l dumb, jiJII

Recently w..'ve bten

in a llurr:Y

hearlng

a

l&t

ot taII<

about the consumer becoming more lntelll· gent, better educated, more ~elective, In a word, .s.tnaner. As a t'eSult, the injunction Is often heard that copy should be upgraded and written on a higher Intellectual plane.

I have never subscribed to the belief that the public was unintelligent when It came to rw.dlnJ and understandl11i adverti9emonts. repr<!less o! what the statist!<'$ shoW .,.,... cemlnJ the public's median educatioaal level. Eaucatlon. beyond t11at ot the threo R'e, hu little to do wtth a per3011'a basic Jn. telllpnceo, hi$ ability to reason what he believes Is ,ood or bad tor 111m. 'Tbe fa<:! that the public may be reoelvlnr a better educatl<m dOes not mean Its basic IQ has n.en.

I do believe that ad ~es snoold be ~prt&&ed Ill slm~. easy.t<>-Wideratand Jan. ...-c.-not toecauw people - Wllnttlllgent but beOtuse (My In a huny. 'They are eonlronted with numerous J)<'Oblerns M<l de. ctslona In theft dally Uves and liMy do not ~ the 11me to atop and plow tllroogh an ad~t that they cannot Immediately comp~h.nd ~use of ''big words" or com. pllaob!d phre.s8. "TtU me Quick, tell me ~ ••• 1>1 st!ll a good axiom tar the copywriter."

~I dim•Mio"

15

Tcday people a~ more alert than liMy ever went. But this not a result of a higher Intel· lectual level. It t.s a product of our acceler· •ted Jlvlna, the apace age and ltll otepped.up tempo. It's a fast, !.llst world we live in and people mU&t be alen to keep pace with the evenll or the day. The!'~! Isn't enough time lor people to ponder. analyu, shop eveJY ad they - · Thle Ia the be&t rtuon we know tor kooplnl ad copy lllrnplt. euy to undorstand.

I cannot .-pt the prftilbt that people are &enlng more lnteUicrnt tor the simple reason that I never believed thorn stupid. ;. tuUN.rtUU., "HIAnl ill prinl"l Th~ eonceptlon that adv...u..\fli is "aelllnc ln print" clvea more c:recllt to aclwrtlalna than lt ..... wltll honey, aoc.pt That • comm•rclal messaee, In P'1nt « on tile air, may pnsnt an lnoestsllble bandit !hal results ~ and thtn In a sale b a hopecl.for Idee!. More often lis COS. II to penuo;clf' the J*<Bpectl"t ~omer to~ a IIAnher Inquiry Into tile podUcl at Ita point of lale.

But II advfftlslna' &$Jlll'u to be • saiHman. does It follow that lt must conclllct ll· selt like a eaJaman!

I have hqanj It eaid that an ad "Shouldn't say anythlne t<> a prospect that you would not say to him In his home or ollk:t."

This phlloeophy may overlOOk the tent:!· ency ot poople to allow advertlllnl a m · taln lloe~ tor drama and rhetor1o-poetlc exaggeration, If you will-that mleht not be tol~rable trom an Individual In a more rnun· dane

Interview.

~nly

a sa!Hglrl would not tell a lady prospect that "I droamed I went shopplJ\g In my Maidenfonn Bra." Yet this campaign tM!me has demonstrated Ita memorability and effectiveness in penetration studies.

A busln~ publication made this point which I'U paraplu'aae to dose this ~an vs. advertisement dlscu$$!on: An advert!Jo<>.

ment, unlike a salesman, is not llkely to change the subject. knt:H.Qi.ng what co bt ~~ar-i»r about KnowinJ what to be ...,..tlve allout Stl> arates the creative advmlslng person from the merely creative penon.

The!'~! is little purpose In S1l'Mnl to be more crealive to attract more attention end galn a bigger alldleooe U tM ~ ooi'ISUI1\e[S of a product or service are llm· lted by Its cost. loeatlcn, use. etc. It the prot>.

1em Is to pro(!ute a creater degree of con· 'lkllon In a smaller, seledad audlence, It I• to thls po'Oblem that our cratlve oll'mu must be addttssed.

Thee Is little to be pined by producing a more "c:reatlve" U.e. original, In this - l lllu$tratlon ot a benellt feature or a mot'e "c:reatlve" expression of that t ...ture i! the product or servl<:e Is bought tor another and better ~.

There are other tirMs, too, when c:reat!vlty am be entirely ml5dlrected, times when It can get In the way ot good business sense. A good II<K8lled crtatlve advertising Idea, no matter how brllllant In conci!Ptlon and ex~ cutlon, can be uttetly useless U directed to the wrong seemmt o! a market. how to- be creative

Really creative people know that you can't pr'Oduoe creativity with a caretuJJy wrought recipe or a Jet of commandments or a lqngthy llst of do's and don'a But most creative people do luove a fflW pet theories about how to be-<lnd how nol to be-ae&tive.

Here are a few o! tllose which I share with many o! my IIIIIO<'iates.

Adven 141nr creativity Is concerned first With communlcatlne a product beneftt better than one·a compelltono have communlaated lt before. II It Is ccrnmW\Ialted better. h 10i11 be dl!l'erent; so that cnatlve eJrort awllcd

ob~ of belnc dlt'ervu Is <'lrort applltd m lhc lftsl ~-- lll'*e o! the ~!em.

POII'IlaPI the m<>$1 ell'ec( M.- *A'tiealloll of tt<~~~IMty In advertising Is to create spodtlca out oJ cennallties; ttt~ pf'f~Rnt t~ spedllc: In a pm~uaslve. meme>rable TIW>R<'r. The moat obviC>Ua shortC'Oilling o! mast odvertlslnr Is that Itt d&ims of quality. Nllablllty. economy, ete.-ev<'ll when presen!e<l tn orlg· lnal and •llentlon getting words arul picturee -.re not specllle enough to br pm~uuive.

Tht ereatlve pencm wbo can create t~

oald1 Ia the

penuastve apeeiflc trom the common pn. erotlty ond prtsent !t so that the aped!!c advantt1• Is ~J.pplw!d to the conaumtr'l mind ~ o• e a superior type ot crallvo ..,.,enwnr talent.

Within the

~

common attribute of 1

crouP of IWodiX'!:> re.g. q\llllty). • apeelllc

e~eample of quality may be !ound for yowprodUct lh:tt hat not ~n exprouecl by the otMrs. It Is tb" mining oJ llttlo apecUiea !rOm th• moth~ Joel.. ot renerat attrtbuiAII that provkles the meterial tor th<t bftt con·

-

benefill!.

Thill appllta, oJ rouJ'M, to the viJ\llllzaUon ot the claim as as Ita exp.-ton In YiiOf'lls. The vb\lal wW ..-ll,y be more cf· tectlve it It lllllsaetes U. ~ clalmtd.

-u

And hlvtnr dedded wbal spedlk It Ia In a claim thAt mallet tt. c:l&lm to ouperlol1ty

bel...UJ., 1M art

director~

alto

m-

Into the lpeCIJic dllfo:cUy. Waey clalma of ouperioc1ty, toe uampi.t. wbln -~ In tonns o! a ~ <lltl'ortnee. are tilt r.ult ~tt. but ............... slldel haw a \'iauaJ that ID adwr· tlllnr lffi<ll m ..-.aM e-vo a ~ rpedlle claim look I~ a common $1m. LM"'": The claim must not onb' be *Ptdl\call)'

ot-

dltf~nt. it

New Unde rline~ the jobless stra pless .. .

I hot ntw't'f jobs or p1ftche1 be,o\IM lht "tw ..f,.H ond ao.sY:, underwi•else•l" s.t't li s.ewn in•o o

sopO•ottfobAC po"oi<WI attochod Qllf$lcle lhe boo. - r ftOf!O Y""· Undorlino o"courog os

~_:J-~~~f:s.:u:..=~::~:'.:::::.:'.=:ffOp&.ss bto.A.'<:

<up6-

3.95

mu•t look clllfmnt too

'"'"'' bwU4i"4 ill tM M,.

Mudl hU bHn wrltwl. Sllld, ....S done In the 1\fld of cJ•hbentt._ selmtlllcally planned

tmaee bulldlnr. Of """""'· ~ ~ lng and odvtrtl2r personalk!es Should be shrewdly lnteettted and ccmslsUntly .,..o. lected. IM tht powor of lmagHullclln&' Ill -~rUalne is limited to odvertlslnJ. One may pnMcJo a VftY compUJnomlary visual and 1\attmnr words to aceompany a product. But it 1o ...n to ~ that this .. ,.....,... ~ value Is 1.- whrn tht prodl>ct is ac!Ually displayed and oold Ill a conalckn~bly 1tos e!tgam ~. Vtl· V4t clnpes wteMly ~ llJ'<IW>d aucfl ~ as tires, batwrles and a~lu - y ttmpora.'ily the "quality lm• • ol m- prod:ucls (or at IHst, pcorNpa k UMd to I but ....., should bear !n mind that It Is ttmporary. and tM greatft' tho; disparity bei\Oiecn the aclvmlsement and tht ~duality. the ,..._,.,. th10 prospect's disWus!onrntnt. disappointment and distrust In th~ product at point of ...... The Ulustons created by "ifn. a,. bulld\ne'' are qulcl<ly dispelled wlwn one buya a new tire trom one of thoUS\lnd$ &tacked hapha1Mdly In Ill~ typical ~ 4.etll· er't plat'\' of business. At point o! sale the best combination ot <;ales assel.l Is a pro• pact who knows wnat to look !OJ' because ot your ~lng_.nd a product tl>al de· livers what you nave claimed tor tt.

Thu. Ia a _ , COIIC"'Yersy that mJc111 weU be dlllc:\wed ben b!oause it ~ 10tt110 rMI "aui!Ye pitfalls. • lbtft II ccnaldonlbt. ~ In ~ 1V ptQCnlll'lnw\f and popular ma.o ~ to ln<»cate that thon \s a ~~ «>nV1ctton that .c!Wn\sl"' tlOITipl(es tor attmtlon - edllorlol content. I ll!P'" tb.>t this~

NEWIEST IN STIERLINC ••• RONDIELAY J\nt -"•t ffti\ts t '''"'' Olttt.fl1 pwik'tt fmt ot ''' )'OU ..

-hell you <NitoM il tltctuM It !,) )'04.1 Wt<lt!'l •• t\lbtly l...atSt$ l'W" own stand.ltd of &lilt WMn tt IPP'tNa )'Our"""' 'Mion o• .Nit • hfttly Wt)' ol li'f4nl munt. '"many ~It $uth • $iNtr Plttf'l'~t It ~ly l..vnl' fNtnllictnt nc. RMdtllf.

ft it. o' coutM. tttrllne... t'tetw, ~ld. imP'fSI,.. It is • d.. sifllt with ptftepli¥1 pufi)Mlt: to b'Pnd tht bUvty qf tradition with a ~tlon ot tN •ltetn~ """· Doe\n't it N'flect th• "''1 ~ fMt Jl»\\l sttrUnc1 We thtnlt it wtll the t'I'IOITit"t ~ Mt it )'OIIrttlf , when ,ou tct••'Y t'IOid Aondtllr in JOt.lf hiM

~ ..,........ -- ..........-~ ............................

_

tor atltntlon e><m..

BIIt the bq\s on whldl advt'l1laln& muat

or

u

&Muld «~~n~te does not lind a~mont rt~edl\)1.

an ad look mo~ like an edltonal than the editorial matter with whl~h It b surrounded In <>rd~r to gqt ettenUon! M~at

It seems a {'Ontradlctlon ot terms to assum. that an ad could beat an edltortAI•Hhtr In look8 ot <.<mt~nt-at Its own pmt.

At 11461, a com.tro«tial nwssage a~n only ~~ In Jooktna or sotmdtna ~ the pro. rram oc edltonal ma1er1a1 by whJeh u 1a IUrT'OUI16Id But Its wry SIICCeSa, ahould k ~ In attractlnlatt<ntion by lllmula41na an ec:t1 tort.I format. Is an lnvltatlo."l to th& radft' or vlewft to~ Its raJ P"fl''M, p not le to ..,.,....,. a oo:o omerdaJ r pu,.. en~t or an ~ apiora·

uon ol • r>On-c:wnmm:lal issut.

IF'Tom the oboYe. It _..,. I&liOililble, In the "'-.10<1ty ol ~ 1o <ondude that, whUe advmlllng 51\ould and does rom~ with Its edi!Qf'lal envlronm.tm:, It should com pet• on the nwrlt ol what It ha$ to olrer nathn than what editorial r.atoriaJ otfon Most produda oonnot comPEte on t1w b&$la ol hum<lt', dramo or c:Wtural aesthetic vol· u - t lout Nil onl:lner1ly without l..tng ..W Impact and dUutlng or dlstncting b'om

• a~ftc t'ONWD<~r bone!~~.

and ean. oftrn bo made a thlnt ot ln(ere.t in lt9dl. ~ pro. epectlve ~ toe the product, tor Pft· amal. lf!liJh .....-.s ~ by tbt prod. uct'e apec:ik adV1o1111ige. may dod '1(NZ «~~n· at more Immediate bomellt meftl&l to him than en-lnmmt at any kind.

Thls Ia not to say that ads should loolc hk• editorial J1lillerial nor thlt oommt"r· dala IMukl bo d...rly dlillngulahed trom prorram content We do suggeat that, whton

But the ~

lhould.

-a•

Don' ask us how we got the tomato in.

Ask us why.

We put it in so the whole world wiJI know we use BIG tomatoes in Hunts catsup.

Big plump tomatoes make catsup taste better.

Tomatoes simmered with seven select spices.

Not six or four or two. SEVEN.

Get Hunt$ .•. the catsup with the big tomato taste.

e«lllorlal formats aro u.ed. we use thtm for

botlln' -.ons tllati inclination to df(ltlve the oudl~. which ls dlftlcult, or to ''take the cornrnemollim out ol ~Wing," whldi Ia lmpoulbl•.

-

1 tblnk thr mwt ~ JIOOI)l• will agne WUh ........-MI Wldtratand me properlyWhen I aay tiMit I thtnk - ha"" to be a1rald or 110( betn, creative, • .. w~ .mould

Cl<ln,

rear not bellll ,ooc1 advntt.slnl people. til~ rtltulono~lp • ., ..,.,,. Cll<n<y crf<lti«

piW<loopAy 011d clit"t pro<ti«• Just u ad•ntialnc Ia c:oncelwd without a cU.nt, a aponsar. a product oc WN!oo, a d-...ltln of trntlv!ty In ~· ttstna rou1d n<v<t" be com~• Without ~­ I!Oitll'll the ftlattorwhtp b e - agt11cy.,.. allve plul'*'lllll.,. and di<'nt praetk:es.

Ewn It It _..., pa&Sib~ to COCT.pik a Crftllv• Ru~ book tbat WllUid --er tt>e ~lion ol e\lfl'Y ~ ~·, th• tradtUor&l acen<)l-dtent relatloo:sh!p by Ita very 11ahu~ would lnvelldate "rules"' prornulpted by a -~ and ~ orpnnatlon ( wh!tl> an odvertl$ing ~ Ia) to a c\Jtnt. Evrn some o! tile hlghesl tcrrm.s ot worklr\l relationshlll$ betw- protellaional COUIIMIOI'Il (such a.s doctors, Jawyws. ~~ and their clien!l do not permit the Mrllce par!Jler to lay down rules !or Ute po.rtMr who 13 NNed. Obvtau&ly, prolet~SIDnat eervlc.. and comstUng orpnlzatlon$ should have some con· crete bel'-fa llld attitude., Scmt )li'Oiasiona! lndividuala or organizations such u docton and law Jlnns, be· .,....., ol tha lara- number at cll6ICa they dtal With ..., a ahoTt·lftm or Irregular basl.s. can, and do, IIJ!lU)atr "'hat tbry Will or will QOt do lor tbbr dlOJ!Q. Unllkt ad\'el'tl5lna apru:!aa they do nc>t drpmd on a rela!JYtiy small .....,._ ol dk-nta who - • the bulk o1. thetr bUai- and with "'hom they

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m.,.t maintain a hannonlous working eU· mat~ year alter year.

It ts because ol this dill'ere~ in who IS couneeled and servked that the agency provldts an aeoount executive wM IS expected..

In the pertorman~e ot his liAison tunctlon,

to p...,.nt agl!ncy.prepared material as reccmmendatlona directed toward a solution rather than em the basis ol "this solutionand no Olher."

Counsel and~ are the most Jlkfiy to lie neolwd favorably wlwn pnM.md without bias ol pntucflee. tn other words. not forced.

Clwnt ~rliOI\nel have the rtght to ex~ that agency views that dilfer trom their own shall be pn!SeJlted with tact and rutra!nt.

In the Interests ot such a relationship, It Is f'XJJI!cted that mlnw ditl'eren~s shall be

rtlldU:r <:Otnpromlsed In favor of agreement on major and more vital Issues.

Of course. an agency man wtu exprhla organization's attitudes and be~fs. per. tlnent to the problems assigned to him tor solution, as I am allemptlng to ~xpress somq of mint. Most businessmen do want to know what their doctor.. or lawyers "' adven Ising apR~

believe. But they do not Wish tO be told what they must or must not do u long as they are pa)'lng for the SIE!I"'Ifce.

1 think that. petllaps. tbe gnatest mlslm

the a~ncy ~ple hsve made tor the )lUI quart.T Clifltury Is that the)' 11AV'! c:ons~n. ently set up their own obstacle to aettina' client apprnval tor betm' ads.

And I think that the way In which CTellltlve ~Pht have helped commit this error may be lound tn the t..ndmcy to think of better ada In terms or their dlft'erenees to tonn.

And then eompound the problEm

b:r t:rytna

to sell what's dllfenmt.

So""'tlmes the "selling'' languago of alive people ,..,ms totally concerned with form rather than !unction u we <llf· ltrmoe an<! cban&e In such terms aa "totally new and different," "sparkling ortrfnallty" and "unliOUal •!'proach." U they ~ too

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revved up. their selling YOObulary runa an

lntempel"8t.. cunut from "unique." "exelu· slve,· to "oll'-bear or "a startlll'l&" breaJc. tllrOiqlll In <.'H&tive ex«Utlon."

Now there &r\' time$ wh., 5UCb lti'TIIInoJoiY may b@ justilled. !!\It justified or not,

tbere't a question of whether or not It's rood selling; whether or not It's good baSIC psy· cllolo8J7 to put such tremendOU$ and eon· 1latent empha.tols on "tbangl!'' when we're talking outside of the creative derertment.

Now, generally s~ng. personnel con· OO"ned with duties ou\$1de of the creQtlve depar'tlmnt are, as a rule, concerned almost txduslvety with th" advertising tunctlon which doesn't change. Not only d - Its basic function. which b to present the truth abou.t a product benefit, continue unchan&ed, Ita form tenda to a'!ul:re a traditional appear. ancc u well. And these lndltlanaJ ·~aranee r:onc:epts tend to cont\l8e tbe tact that lorm follows fUnctloc. People thai sell ads to the cl~ mt, and dlenls ~. - o u s l y ae· quire the eon<:ept that function followa ap. pesranoe. l think It Is an easy, unconscious error to make, to feel that It the tradl!lona I apJ)tara~ ot advertlalng 1$ rhanged.lt5 tw\co tlon Is changed Pahaps more emphasis shoUld be put on a proposed campa.ien's unchanged tunetton nother than Its changes In !orm. We all tend

to resist Chanllt', and when function haa ac· qulred a traditional appearan<e, a ch&np In !orm, momentarily at teut, Is eonluslna"evcn when the function Is unchan&«l Con· fusion creates indocision and Indecision breeds client rejections.

To Ulustrate: camera adver1islna" acquired a traditional !orm that wu t'eftnod, blot un· ehanllf'). tor many years. 1 won't bt the Judge aa to ...-,..,. Its ton'll tht best rd«lkm of its .!wKtion or not. But the tradition was: c:amna shown WiOI ....- In the blf plctu:re; ltiUIIS at. using - . smaU. Polaroid advertlslnc !atut'H the re•utts ot wiJlC the camera wllh a lm&ll lor even wtlhoutl ptcture of the camera. A change In ad desten torm-not In functionwhich Is to sell th" NSults ot pi~ t:aklna".

A memorable ad In the Polaroid campo~lgn

was orw with a dominatlng picture (90%, pet· ~lAps. ot the

psge sP!cel ot Louis Annatrong.

In pres<1nttnc a change of 1orm like this. the presentallon should emphasize the tact that the new fonn belnc IJI'Ol)()M'd <:anil'1 out the same old tunctlon on!y bet:ter--or the account eX<!CUtlve or client is l.laoble to b@ thrown by the change In form and eomplaln "What are we $elllna. l:r\llnJX't• or u.rneru"!

Wl>ether It ts aoJ1ed "C<>UNtltne' or AnT· ~else, whattowr a d!ent &PIJ<'O'* lbuyaJ !rom an agency Is sold. And this kind ol selling-the best kind of ~ aeWne-1& a<.'COmpll$hecl b:r having earned a clllnt'a conlldenee. It Is not aC<Xlmpl!Med by tnaisttns on doln& a J)81"tk>Jlar ad or campaign wllh a particular theme or color, but by a lona his· tory of jobs competently done within tht ruin a client sets-a hlslory or eood Judament and good relations.

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TODAY IS Y E STERDAY ALREADY One point should be kept In mind In think· lng about contemporary palntlnf and ICU!p. ture: A work ot art Is lroly contemporary to tht artist onlY whlle he Is actually creaUnr lt.

OnCE he Jays down his brush or chisel. It ill • hl.story-)'<!Sterday's work. Tomorrow's work Is already taking lllape, con.sciously or un· oonsdOWI!y, In his mind. H~ Is already begin· nlng something tresh basOO on the experl<mee ot the work that he has Jwrt 1\nl.shed. This totperlenee has altered his outlook, and hill next work w!U reflect his chan&'ed clw'acter.

At Its completion, the work of art belonsto yesterday. The artist's responslbWty to the language ot hl.s an Is to keep the surr.ce features always .fresh whUt lle sees to It that the fundamentals are never disregarded. The 11<'\J)ptor, Jacques Upcldtt. stated, "Asa work· man, I feel that I muat always keep beton me the Jclea ot a great rtver. w!Ucll Is always changing and can never be arrested and It Is the individual cree!lve freedom alone whld'o

.t.eeds it."

An artist's work Is &lrndy port ot the 1'*51 before evon his eoUoaruos have had a cllaJice

to rec:ocnu It The sltuallon ~·om• u Wynclam Lewis cle&cr1bts It In Ill$ satlrl<al poem. "'nt Way Son&" In the section, "poor COIO'Iehes ot tm>pcnllty": "'ur tJ1-<:Iaaoed 1Lfe.6~ canies ot far more back·to-U..COg!M tares than those .fa<» lore. Cllzlne at ~Y' they &quat had<· ftnt ... bllnclotolded Into brand·ru!W futures burst! 'l1me - · thrm at spent landscapes 'llMir lorepound La just ldt plaees Mt earth bound but time bound."

Not only the pubUc and c:tltlcs, but even th& attl8ta tsnd to blcorn" "poor ""!riches of tenpon!lty." Some artist$ tranldy unlnterestld In the UPfCtl ot expression their

*"'

colleagues are explorlnf. Some are looking for sogge$tlcmo tor tllelr own gulda:nce but foriet that anotller man's solutiOn Is history as soon u he has found lt. Copylnf today's

•otutlons Is tile same as ropy!nc trom the put. Tlte comparative dlstan<G Into Yester·

"-Y matt"'' llttlAr. The !.allw-e to ~gnlze

thl.s ruultt In a recoenlzable adaptation of 101M Nl'l'ently admired II()'~. One has

a

Mnae of the artlft alway. belni Just sll&'h«lY out of breath from tr'Yina to mp ep&te. 1be ro-n b that tho "juat ldl pia_.- o1 Lewis are alway. sllpplnl away ~ ar.. e.lwQs beIng rtplaood by new ones.

What we mu.st rMIIu Is that OM aspect of fNery artllnlc ~ton~ and sMuld chan~ trom RIOI'IMnt to moment, but another feature which II .qually lmpcnant never chana- AD art ~ IM~UA~e. Lan. ggqe. of eourM, Ia a means of expreaalnl our tboolih!S. Painting 19 a laiii\UI~ or ~ton, ewn as poetry Is. Indeed, most ot our cllmculttes In tpPf')aehlng nn. lnah, statements In the ~ aru derive from the talture to Jaoe this taet. In palntlnf, the .wfaee t ..tww.

Which may be W<en as analop to the WOI'df and Images of our spol<en lanau-i•· are con. stantly chan&1ng. Tltls Is dlttw'btnf to 1M a>.sual observer, who trequently bills to look deeper Into the undtrlytng 01yntax ot pictorial expraalon, Its warp, or Its ltructural base, which ts the friable element which cl!angH negllgib!Jr. Worda, pictorial for111t, or Images are the currency of oommW!Iea· lion, of OO!ter poetry, and paintina. As coins become worn trom wage, so do word& and pictorial Idioms. Eventually the denomlna· tton ot the coin becomes un~ just u worda and Images lose their f!Voau tv• sharp.

ness t!u'ouih n>petltton. They 11e<:cnw thin and pla!n. "Plain ~• T. E. Hwrw om wr~. "... Is fAOI'lllally lna«W'att. It Ia onlY by new metaph.,..... by .f:lncy, new ftaw- of speech, whether popular . , exp~lcN or the lmqes ot poeta, that It can be nvttalized, ~ fresh and &1\arp .,aln. • The worn out or seecnd hand tmaces In c-lntlnJ, to whk:h I refer, ar.. olrnply the antJogt ot ~ In every clay sJ'ftch. F-or the tre.h· ness of expression, which 1s the ~ulslte of creative art, S<lmc: of tht!$1 ftgura must lie constantly Nnewed. What !& descrlbld deo roptl~ly as aaulemieillrn in p&intlna Ia commonly only the result of a painter's fsll, ure to think In hi$ tn...num, the result of an Indolent willingness to speel< In worn out phrasea ot the ~nt or ot yestHd&y. Jean Oocteau warn~ ''the artt.st rnust alwa)'>l take cart whon once a work of art has '!allen from the tr.t., not to Make the tree ,.., It lninC down oth..rs of the same kind."

Tile constant rdreslunent ot his language ot cooununlcation Ia th~fore the painter's duty u well as the poet'a. Whether the art· 1st creates his painting of elements ot natu· rallstic twms or non·naturallstlc forms, hu no bearing on the ln!J'Inslc quality of h!B work. The only thine that counts Is whether the painter by the use ot plctor1.ol Jan~. as the poet by the use ot his wrttten Jan· gu.J.ge, In hi$ work has """'tel a new noun.

For the noun Is the basis ot communication In oW' apokm lanauage and, by analogy, In the visual arts.

But 1r we pursue this analogy, - ano at once lace to .lace wllb sometl\lnJ still more ~!ernmtary, III"taalbor. For ei'OI'Y llOilll In 011r speech nprumts an ege.old plllne up or metapllors. Had tho world no« been fW1

t""

materials. The raw materials ot art at the outset may be rich to the point of chaos.

But to become art, order must be Infused. '"The mist,'' Wyndatn Lewis once Wl'Ote, • ... goes back to the fish. The lew centuries that Solp&rate him from the savage are a mere Ilea bite to the dll:tance his ~ory must saetcll If It Is to strf.ke the tunc!ameJ>. tal slime of creation. As It Is thts o:ondJUon, the very first gusto of creallon In this scale of life In which we are &et, that he must rEech. before he In hts tum can <:reate." This eusto has always had its expr.ossion In order.

What eveTY true work of m provides Is a pattern of order, a unity of general form with a variety of elements. The :satisfaction this combi.n.atlon eives Is ~tlalJ¥ a blend· ~ together of our responses Into a unltlet;l Whole which we 110tnetime~~ call beauty In a work of art. This gave the gt<!llt, so called naturallstk, expressions of the recent pa.st their fundamental values and Is the ba.slc quality of the high~ forms of non.natural· lsUc expression today. The subjeet of m Is never qutte the same. The artist must be aware that the mind of his eountty, a mind which he t..uns In time to be mucll more Important than hls private mind, Is a mind which changes. Th.ls change Is a development which abandon.s nothing enroute, which does not supe:rannuate In any way either Slull<es!)o!are, or Homer, or the rock draw· lnga of the ~gdllllanean drattsJnen.

But underlyll)g this Is somethl:ng dlll'erent, oomethlng relatively uncltanged. something timeless. This relatively timeless feature of art Is Its empha&ls on the orrani2atton ot parts. The. arttst'B Imperative desire 1$ to <:reate, In the immense )>anorama of tutlllty and anar<:hy, which Is rontemporary history, an Island of oroer In the tenns ot hls own ttme. The rem, the surface aspects, of his art are never timeless and should never be expected to Appear so. Sino. they retlecl t'aW

of homologies, sympathies and Identities as Erne1Jt Fenelosa ona. pointed out, '"Thought would have been chained to ilie obvious.

There would have been no bridge whereby to cross from the minor truth ot the thing .seen to major truth ot the unseen. Meta· pilOT, the revealer of nature, Is the very substance of poetty."

As the me!Bphor Is the ba.sb of our spoken and written language, It Is also the M!lls of oUT pictorial f:li:P"""'lon. A painting or seulp. ture IS no more the mlmlery of something seen than an .Image In poetty or a phra$! in music Is the mlmlcry of somethlnr heard. It Is an orpn11alion ot related &hapes whlclt reoill to the eonsd.ous or the uncon. sclOU$ mind some bMic organic relationship In nature. It Is prfmarlly a metaphor of struclllre, taking vltallty from the analolfes olrered betw<!en the order of Its PI\1'IS and the order of natural thlnga rather than a

-t•

vlswl resemblanoe to some natural ob)ect or from the simulation of one. Today In painting and sculpture relations are more lmportMt than the things related.

The other element ot a work of m Is Its £tructural orrter, which perseveres and Is kept relatively undwlre/1. This feature, also has Its analogy In J)O'!tty. The vocabulary of an expression oonslsts merely ot Its surface featllze$; a tunt2 of possible means toward exp~lon. This however Is only the raw material of language. It It Is to J;('rve as an elrectlve means of huma:n exp..-ton It must be gtven oroer. Or4er Is the underlyll)g syn· tax of a work of art, its ""''entlal warp which 18 always there and whlcll changes !i~ from penot;l to pertocl. from Idiom to Idiom. A d!sr<!t:ar<l tor order, or the essen· tial •yntax of painting would be a denial ot m and would tum ~ Into cltaOI!I. Chaos. In a - · may be the luxuriance of

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ctcllinl•l>y bob iorvcl/ rrvduol<: .rudcru/ • wadfol'd oquuro/ ella. ond IM IMOrld •

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the limes In which the work of art Is pro. ducel, !.My must dilrer !rom day to day. To kftp ~ to that ltY\ni <hanl:es In ut. we, the onlookrn, must lcftp In t:ouch wttll them. 1! we do noc. we Will alwo,ys be aurpriaecl at what baa tal<!!n plact during our moments or Inattention.

In a consideration of contemporary paint· Ina. there a:re two points which should be kept 1n mind.

tar the

Flm. no matter how unteznn.

&spects ol a Jive contempo. rary work of art may appa.r, • fUndamental chat&tterlstlc l"!late• It to the art ot the past.

Seeondly, 11 a eontempcnry work ol art b tnllY art, It olfel'll surtaoe u~ ~ dll!ennt trom an preoec~~nc art. No dis~ apeet lor the lessons ol OM'• put Is tmpiMd. The constant retreslunent o!. the art!.ot'.t vo. c:abulary Is one thiliJ. a ~peet tnr the ~~A:~:Umulated e;orpetlence of put time would be quite a:nothet. A work ol art baa Itt ruu value only In Nlatlon to what baa l<>lle before It and what will foUow. The models of order - create In today's YOC8bul&ry, the warp ol our contemporary exprec~lono must be u clOI!II!ly related to those of ~·rday as thtll- surtace aspetta must bt dissimilar. "No poet. no artist ot any ~" T. S. Eliot has written, "has his ~ INUllni olonA..

Kl.t siJnlll<anee. his appreciation Ia In reJa. lion to dead poets !Uld artll!s." you <2JIJICit value him aloM. You must Mt up tor conlt'Mt a:nd comparlson amona the dead, "I mean this." Eliot concludet. "as a principal ot the aesthetic, not merely h!ltorlcal crltl· clam." The arbitrary llmltatJon ol en's pos· alble ftelds of <!Xj>reaslon lnlrMdletely leeds ua to a J\lllgment of the product& o!. twentl· Gil centu%)' art by the standard$ ol a period to wtlldl we no lolljlt'r belonf. For 300 yea1'$ a.rtlsta prtnc:JpaDy engaaed the"*lYes In US· Inc art to IUustn.~e thdr cultural Ide*'! on a basis o! perspectlvt tepro:Hntatlon. Slnct 1he niMteenth centwy we have come to see a aurta~

picture or a ple<>e ol ~pt\lle In q\1111< an· other ll&ht. Today's picture Is a o:ee!lve expression In Its own ter1rl$. As poetr)' with Baudelaire discarded the story. so the palntsr also d\lrini the nlnoteenth conluly,diSOIU'dtd the aneoclole. What lay beru!ath the chanae was unclo<lllledly the desln on the part ot the artist to clomlnate his lllbl«t mattv, lnB!ead o! win( c!om!nated by ll Palntm became more Interested In IbN mediwn than what wu belni d<!p!tted by their medium.

It wu d'-"ertd that Qrt could subdue ll!e'• teemlni fol'm4, that !cmn.s o!. human ""~ slon existed which owed nothing to lmlta· lion. and that betwe<!n the e>.~meo ot om&· l'!W!nt on on• lltd>/, an<! helroglyph on the other, lay an uncharted world. Heoot, It 14 not ~~- to apprwch contemporary art etllced<NIIy It we insl3t on Umltlni OW:· aelves to the atteria whll:b held tor the Rena~Sanoe oor ~ tor most of the period since the renalaBance in western ~. U we do, we ftnd the door closed to 111 a t OllCe by the old European problem ot ~lam.

One

ot the layman's main trouble In hl.l

to contemporary an Ia that he fcrret.t the centu!1es of art that u., behind !t. He ta1«s a particular period. the ~natuance to repre.sent aU art. IJilOI' !ng the £i)'Ptlan, the Swmrian, the art of ~ ot the middle ages, the do~ of tt-nlur'lts o!. an In a M.en quarters of the world, all !Unllamemally relat<!c! as dltrft'ellt exprea~on.t In dltr-nt media. Most •re as tar from the naturallstlc reprsmtatlons which we are accustomed to since the Rtn· ~. aa the strangest In cont.mporary art. The layman often per.s!3ts In ludilng contemporary art by the atsnda.rds ot a rei&· tlY<!Iy limited and tecltnlaol.ly spoclallz«< pe. rlod in world an. and blames the contllfllpo. rary artlat !or his disregard ol trao:lltlon b«aUM the artist PN!ers to plcl< up a differ· ent $IT'&nCI ol. human expression. The layman

ap~

<:onun<J~~Iy

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ot tradltton and the present day art 1st ot b<tinr antt·tradltlonal, wh..-the <>pposlte Is usually troe.

&peaks

Regarding the doct:rtn. that art Is abovt all thlnis lmltatlve and npr-esentattonal, pet· hapo Aristotle Is not to ~ lor a mlsW>· derstouldtne o! 1M notion o!. lnlltatJon In the contexts which Plato emplo~ It, rather the blame shoul<! be laid to certain theorists at ~ Renallosanct and the sel/<!nteenth ctn· tury. In any .,..., molt of what was written and said aboot art In 1~ nlneteenlh a!lltllr)' as the philosopbtr, ll. G. Colllllgwood reo aol.led, "wu wrlttm a~~d said not about an proper but about Mpr<sentatlon." And the assumption W&8, o!. OOllt$0, that Since It WAS about !'<!presentation lJ> art. It was abollt art.

To swn up, perhapa the troe tl'adltion In art wll!ch has been handed down from one Jive period to another Ia a respec:t for thot lunda· mental ordor which W\clnlles all soUJld p1ctor1al upresslon to~!Mr with an equal and COI\aliDitont respte1

tor and ..nooura~ment

of conttnuoua ..mate chante. A bad<wanl glance, the retr.,.ptCtl.-e f<!gml to the put Is the ''temporaJ ost11eh" attitude ot'Wyndam Lewis' satiri<>l! poem o! tho"" travtlets whose torei"'und Is "Just left places" and the slogan o!. th- Oltrtchea of temporality 18 the t&millar one we have so often heard.

"I do not know much about art, but lkilow what I like." What Ia actually true ol the speaker 14 that he does not know much abou( art, but he Ukts what he knows. We all do. But our duty to curse~ 1.> to con· otantly broaden ~noeshlp. to open up new tlelds ol ~ In worl<9 ol ut. For what w. m111t NOO£RIIie In tho case <>t any living art th.tt 1.1 worthy ol C>Ur <O<>Sideratlon Is that our t1t!AI alwayw hc>lds, today Is al· ready yesterday. To Uve 1Ully with art, we must strive to Uve elm!out. somethlni we OIJl nt\'er succeed In doing, but that will enrl<h ua In the elfort.

dlm,..u.n. 16/ pt짜e 67

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rh io laue ...,. tk1(1Md and produced a. a ••nior project in. the a.tluert:.ing <k.Bisn. pro·

l.)'pe: rut, ret<>J ,,...,. 8 pt (~ed 2 p,.J; cial,, crcrw modern bold 14 pt; italic.~ unrw-y -.:ltooU.oo.lr (k<Mhd Z ,U); fillinter typeUI· linl eom.pan)'.. ann Ol'bM, micht,GA.

'"'"'· co110r, lnlfrpr•lalion of micllelantelo'o "8<x1

prinrirJ6: braun 011d brum/ield, inc., ann arbor,

crco1ing tht lUll."" hernattdo maruilla

micA !fan

CREDITS

II OW and dauU /Prniture ~ompany. 1rond NJP· Uh, .,ichigan

<elkgr of mcltitectura and tk•ifn, ann tJibOI', rrt.itlt it<Jlf di"'enoi<Jn ...-Ially oclr>oowkq., tAo pat~ o/ Olt>w Gli<L d!WU fUTJlilurc COWIPfJIIY ond •tulccs•, U.C., grGI>d rapU/o, michi.f01\, and tltc CIJ!Itge <>I orchitocfltNJ and dc•wn.

all IMieriJJI wilhU. lh~ MllfOZiluJ io COPY• ri(h.Ud by dime~n Gli<L may not b• ropro· du.ced wichouc written pumi.Nion.

dimt1J4ion m01azine, no. JS/•print 1964/lhe "nivrroiry of michifanjcollel• o/orrhlltclure andtkaign/onn arbor, miclt<,an

polron toboerlhu• ($5.00 per yr.) tU of 2/17/U:

rL c. andtrto" ........... •. ~micA j. d. ..,,_., .......... ... . . .. portland, ore. /rod arnold . . ........ ... • little >otlt. ar~.

harold lt. bc<ehcr ....... . 04lt /Dke city, uW.

ltt,.tolh e. bltlc~ ............ . laMUtt, n.ich. dot>~/ bryant ................. ehica,o. ill. carton, ltmdill & ~ ........ new yorl>, n.y. jolu\ 1. troll ............. albuquerque, n.m. <raM & rorwlt: anoc. ..... " . . tktroit, mkh. clair w. dltchy ............ . royal oak, mich. doni•ll. dworrky ......... .lol onseltl, coli/. donald r. odg• .........•... palm booch, fl.>. lt.enry j. •akr ........ wut tt<>ekorige. mau. llrnry /. ruur, jr• .•....•.. . pittojleld• ........ a. m. (1//ilt~r . . . . . • ..... .<Inn orbar, ntich.

j-plo •· fron.c•a4 .•.......... .buffalo, "·Y· I. v. tiAh• .. .. ............... tl•I.Toil, micll. rontJld fooc/l.n- ... ... . michigan city, ind.. cltarko ,.,._ ... .• ..• • . ~ unn. ,..,,.. ig/e.Mn . ........ .. . CilUI arbar, midi. /NUll! wc.Ucm itacbon . .. . ... .• r. cloud, minn. iah,_tkroon 0110e• •••••••• tkarbom, mich.

It, w. johe ............... . ann or-bo,.., micA. car1tl. jolvuon .......... . {arminteon, mich. david>.ltltox .............. ann arbor, n.ich. ball<Uar lwrob ......... . l>irmintltam, mich. har1 kroun, jr. ....•...••. /1. 4tki""'"· wile. c. theodore lar&tm ......•... anna>bor,mich. willi<>m llltm. .••....••••.. . ann arbor, miclt.

•· h.lundin ............... white p/Din.o, n.y . ow•n a. luckrnbach ..... .birminfhom, mich. r. 6./yl/c, jr . ............. . ann orbor, mkh. mfaiAt, k~ul~r (z 4$toc. ... . ,rot" pt., mit:ll.

rob•rc c. meccclf ... ... .... """ arbor, rni.ch. auguto f. p/4rd ......... ... ri.o pi6drw, p.r. j<lmu c. ritU... ..... .. .........cltKa.(ro, ilL jolm "- riclt4nl. ..... . . .. ••. ...eokdo, oiUt> i~ "· riclt......, ........ ·"""' roct..lle, "·>'· I. j<Jrmin ...-h ... .... . . oherman oafu, c<Jlif. walur b. otmdero ........•. alln arbar, miclt. linn 1mith d.lfOc., inc. ... . birmin~ham. mlch. richtud cz. tm.irh .•............ . e~ne, oN. t«lt. m. eq"itr ......... pompano beach, flo. lll<llcolm '· •tirlo,. ..• •groue pt.farml, mull. walt•r e. thu/U. •.•...•. . fort laudrrdak, flo.

I· w. vora leer a&toc• ••.•••..•••• • chicolot Ul. n. k. uan o&dol, jr. ..•••... •loB Ontticl, calif. william a. wern~r ......... . ann orf>or, micA. lounn d. wild ............ . onn orbor, micA. philip"· youlz ....•.•..••. on,. arbor, micll . tlloo. t. ill. zunt ............. . ntw yor~, n,y.