"Tonight it's my first late night at the Studio. I’m finishing my model for todays meeting with Mr.Eifman. I'm lasercutting some remaining parts. While waiting for the glue to dry and the laser to cut I’m browsing through a pile of Mark magazines and I'm putting sticky notes on pages that I will re-examine later. I was also listening an interview with Malcolm Gladwell but it's finished. Many impulses at one time.
Now I’m also listening to Piano Concerto No.2 by Jakob van Domselaer, the only music composer who belonged to De Stijl. It is a fine piece but it seems to be rather a soundtrack then an independent opus. Of course there was no need for soundtracks at the time when the Concerto was conceived. However what prevails is the idea of playing in the background."
Now I’m also listening to Piano Concerto No.2 by Jakob van Domselaer, the only music composer who belonged to De Stijl. It is a fine piece but it seems to be rather a soundtrack then an independent opus. Of course there was no need for soundtracks at the time when the Concerto was conceived. However what prevails is the idea of playing in the background."
From December the 20th:
It starts puzzling me why De Stijl never had these same strong ambitions like Bauhaus. The Dessauer School had holistic ideas about every aspect of life, ready-mades for implementation. De Stijl was somehow more subtle, it didn't have such a vast popular or social programme and it never actually had a didactic wing. The whole movement was centralised around Theo van Doesburg so tightly that when he passed away the other members dispersed.
The key word is to have good sense and be adaptable. Van Doesburg in 1920s was fully open to new members who changed the appearence of the produced works. Seeing the UN Studio is a brilliantly decentralised entity the idea of adaptability seems to be a paradigm also to Ben van Berkel practice. UN Studio's projects also changed over time with van Berkel now sitting rather on the backseat than holding the steering wheel. But possibilities changed and objectives changed. It is so beautifully obvious. To change means to live on.
The key word is to have good sense and be adaptable. Van Doesburg in 1920s was fully open to new members who changed the appearence of the produced works. Seeing the UN Studio is a brilliantly decentralised entity the idea of adaptability seems to be a paradigm also to Ben van Berkel practice. UN Studio's projects also changed over time with van Berkel now sitting rather on the backseat than holding the steering wheel. But possibilities changed and objectives changed. It is so beautifully obvious. To change means to live on.
It is 3.28 AM in the morning but it feels like it's the best part of the day. Warp speed intellectual engagement finally comes but it takes a number of hours to concentrate properly. A body of work is a resultant of many things, many ingredients put carefully together: space, time and practice. I woke up this morning wihout realizing if it's Wednesday or Thursday. It was actually Tuesday. Days blend with each other, rythms with melodies; space, time and your timeless thoughts are becoming a beautiful continuum. Complexity might be a beautiful thing.
To do:
Work until small hours
Study more De Stijl
Read about UNStudio's Design Strategies.
Prepare graphs tension versus decision making versus time
Start thinking about spacial continuum diagrams
Work more with drawings than texts.
Forget about the above mentioned
Start working back on the Eifman Theater
Study more De Stijl
Read about UNStudio's Design Strategies.
Prepare graphs tension versus decision making versus time
Start thinking about spacial continuum diagrams
Work more with drawings than texts.
Forget about the above mentioned
Start working back on the Eifman Theater
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