"The Blue Afternoon" - читать интересную книгу автора (Boyd William)

NINE

In architecture, as in art, the more you reduce the more exacting your standards must be. The more you strip down and eliminate, the greater the pressure on, the import of, what remains. If a room is only to have one door and one window then those two openings must conform exactly to the volume of space contained between the four walls, the floor and the ceiling. They must be shaped and styled with intense concentration and focus. One inch, half an inch, can make all the difference between something perfect and something botched. Without decoration, without distraction, proportion becomes the essential factor.

My aesthetic mentor, my inspiration, in all this was the German architect Oscar Kranewitter (1891-1929). He was a friend of Gropius and like him was heavily influenced by the austere ideologies of Johannes Itten. Kranewitter was one of the first members of the German Werkbund and taught occasionally at the Bauhaus between 1923 and 1925 (he departed, never to return, after a savage row-it came to blows-with Hannes Meyer). There is no doubt that had it not been for his tragically early death (in an automobile accident) Kranewitter would be regarded as one of the foremost German architects and leaders of the International Style. Because of his demanding temperament and the strictures he imposed on himself and his clients he built very little and his published work is confined to a few articles in obscure reviews such as Metall and Neue Europaische Graphik. And it was in these densely argued pieces that he introduced the concept of Armut into modern architecture -or 'Poverty'. But the sense with which Kranewitter charges and loads this abstract noun is complex: for him the meaning of the word loses any negative or pejorative import and its implication is transformed into something more akin to 'Purity'. The abstruse theorising behind Armut was given a physical dimension in Kranewitter's masterwork, the Lothar House (1924-1929) in Obertraubling near Regensburg. It was here during the painstaking five years of construction that Kranewitter's obsessiveness and fanatical attention to detail took on legendary proportions as his conception of Armut took on plastic form. When the house was all but completed he had the entire ceiling of the dining room torn down and rebuilt four centimetres higher. He designed all the furniture (teak, chrome and leather were the only materials used) and there were no carpets or curtains. The floors were made of a dark polished flint. The colour of the walls was white on the first floor and primrose yellow on the second (yellow is a 'lighter' colour than white, according to Kranewitter, and therefore suitable for rooms above ground level). All the door furniture was forged aluminium and unpainted, as were the massive and specially designed central heating radiators. The rooms were lit with naked light bulbs. It was destroyed by a stray stick of bombs during a raid on Regensburg in the Second World War.

The more I studied Kranewitter the more I came to admire the dedication of the man and the ruthless consistency of his ideas. Rigour, clarity and precision seemed to me attributes that were both admirable and practical. Kranewitter's Armut is not something miserable and deprived: it has a liberating, purgative quality to it. The more the twentieth century advances and the more crassly complicated our lives become and the more the hectoring injunctions of the commercial world intrude – eat! buy! play! spend! enjoy! -and come to dominate our every waking moment, so do the calm and emptiness, the clean, unimpeded, untrammelled nature of the world Kranewitter tried to create grow ever more appealing.

These were ambitions that I tried to realise and incorporate in my own work and they are manifestly embodied in the two completed buildings I designed – the Taylor house in Pasadena, and the Burbank shopping mart. Everything extraneous is stripped away. The interiors are ruthlessly plain, the only lines are vertical or horizontal. Even in such a temple of self-indulgence as a shopping mart -the American antithesis of Armut – Kranewitter's ascetic philosophy is evident. And it works.

It worked so well it cost me my job. The success of the Burbank mart meant that Meyersen and Fischer were approached by Ohman's Retail Group to design their new store and restaurant complex on Wilshire Boulevard. I did the initial drawings and plans, and had a scale model constructed. Shortly before the final contracts were signed, Eric Meyersen called me into his office and informed me that I was fired. When I asked him why, he said, equably, 'No real reason, honey. I just don't want to see your face around here any more, I guess.' Meyersen had, to put it simply, got what he needed from me – a body of work, a small but growing reputation, a style. Now, with the Ohman deal secure, he figured he could go it alone. Fugal looked at the document of partnership I had signed so avidly five years previously and duly unearthed the subclauses that granted Meyersen this unilateral power. I told him to sue the bastard in any case. Writs were served as the Ohman's Building contract was signed by Eric Meyersen Architects Inc. The Taylor house and the Burbank mart records were similarly altered. My only course of action was to go out on my own and show the world who really was responsible for these buildings.2265 Micheltoreno would be the first nail in Meyersen's coffin.