“I would like to offer an illustration. Imagine a house which is well designed from a material or practical point of view... Apart from these physio-functional demands, there are also psycho-functional demands which correspond with our optical, phonetic and tactile experiences. Until now, mankind has attempted to satisfy these 'supra-material' demands with a painting on the wall or a sculpture in a room.... the architecture of the future will have to destroy this duality. Its task will be to express completely and fulfill all our demands.”

— Theo van Doesburg

Quote from Van Doesburg's unpublished writing, 'Fundamental principles', 1930; as cited in Theo van Doesburg, Joost Baljeu, Studio Vista, London 1974, p. 203
1926 – 1931

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Theo van Doesburg 46

Dutch architect, painter, draughtsman and writer 1883–1931

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“The basic function of thought is to find ways of satisfying our needs and desires. The Surrealism of Breton and the functionalism of architecture which was more concerned with the way in which thought functions rather than with its function, — was initially idealistic. But is this not something which we can extract from Breton’s definition of automatism?”

Asger Jorn (1914–1973) Danish artist

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“People frequently ask why my canvases are compartmentalized. No one ever asks this about a house. A man with a large family would not choose to live in a one-room house... I am like a man with a large family and must have many rooms. The children of my imagination occupy the various compartments of my painting, each independent and occupying its own place. At the same time they have the proper atmosphere in which to function together, in harmony and as a unified group. One can say that my paintings are like a house, in which each occupant has a room of his own.”

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“If you demand on the other hand,
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“The new architecture has suppressed monotonous repetition and destroyed the equality of two symmetrical halves. It does not allow for continuous repetition. A block of houses is as much a whole as an independent house. Balance and symmetry are two entirely different things. In place of symmetry the new architecture proposes a balanced relationship of unequal parts or parts which differ [in position, proportion, size and materials] in functional character.”

Theo van Doesburg (1883–1931) Dutch architect, painter, draughtsman and writer

Quote from his unpublished writing, 'Fundamental principles', 1930; as cited in Theo van Doesburg, Joost Baljeu, Studio Vista, London 1974, p. 203
1926 – 1931

“Marinetti's [leading Futurism founder and theorist] Tactilism can be seen as an instinctive effort in this direction [of the new architecture, according to Van Doesburg] even if it presents only the sensuous-tactile expression of space through using various materials. Picasso's earlier compositions in various materials also concerns us here. The Russian artists [ Tatlin and Lissitzky, both Constructivist artists] also appreciated the exterior quality of the plane, not only optical, but also in a tactile manner... Intuition already produced a foreknowledge of these new realms, but they can be established fully only by science.”

Theo van Doesburg (1883–1931) Dutch architect, painter, draughtsman and writer

Quote in van Doesburg's unpublished writing: 'The struggle for the new', 1929-30; as quoted in Theo van Doesburg, Joost Baljeu, Studio Vista, London 1974, p. 187
Van Doesburg's quote is proposing here the sensuous-tactile expression of space as essential for modern architecture
1926 – 1931

“The view which sees in every capitalist only a profit machine may very well meet the demands of propaganda, but it is conceived much too narrowly and does not correspond to reality.”

Rudolf Rocker book Nationalism and Culture

Source: Nationalism and Culture (1937), Ch. 1 "The Insufficiency of Economic Materialism"
Context: The view which sees in every capitalist only a profit machine may very well meet the demands of propaganda, but it is conceived much too narrowly and does not correspond to reality. Even in modern giant capitalism the power-political interests frequently play a larger part than the purely economic considerations, although it is difficult to separate them from each other... The morbid desire to make millions of men submissive to a definite will and to force whole empires into courses which are useful to the secret purposes of small minorities, is frequently more evident in the typical representatives of modern capitalism than are purely economic considerations or the prospect of greater material profit. The desire to heap up ever increasing profits today no longer satisfies the demands of the great capitalistic oligarchies. Every one of its members knows what enormous power the possession of great wealth places in the hands of the individual and the caste to which he belongs. This knowledge gives a tempting incentive and creates that typical consciousness of mastery whose consequences are frequently more destructive than the facts of monopoly itself.

“I was always interested in architecture, but the editors [of the magazines who demanded these subjects for the illustrations of Hopper] wanted people waving with their arms.”

Edward Hopper (1882–1967) prominent American realist painter and printmaker

1911 - 1940
Source: 'Wake of the News, Washington Square North Boasts Strangers Worth Talking to', by Archer Winston, 'New York Post', November 26, 1935

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Henry Moore (1898–1986) English artist

Quote of Moore, as cited by Unesco, International Conference of artists, Venice 1952; typescript, in HMF Library
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“As castle design evolved, the great tower was eventually replaced by walled enclosures, which permitted more effective use of troops and better living conditions. The future of castle design lay with the curtain wall, that is, a wall “hung” like a curtain between towers, each of which functioned like a keep.”

Marilyn Stokstad (1929–2016) art historian

Source: Medieval castles (2005), Ch. 1 : The Great Tower : Norman and Early Plantagenet Castles

“Architecture is treated as crystallisation; sculpture, as the organic modelling of the material in its sensuous and spatial totality; painting, as the coloured surface and line; while in music, space, as such, passes into the point of time possessed of content within itself, until finally the external medium is in poetry depressed into complete insignificance.”

Georg Wilhelm Friedrich Hegel book Lectures on Aesthetics

Die Architektur ist dann die Kristallisation, die Skulptur die organische Figuration der Materie in ihrer sinnlich-räumlichen Totalität; die Malerei die gefärbte Fläche und Linie; während in der Musik der Raum überhaupt zu dem in sich erfüllten Punkt der Zeit übergeht; bis das äußere Material endlich in der Poesie ganz zur Wertlosigkeit herabgesetzt ist.
Part III https://www.marxists.org/reference/archive/hegel/works/ae/ch03.htm
Lectures on Aesthetics (1835)

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