TATLIN NEWS #43

. . . рисовать нужно, не думая о том, будет проект реализован или нет, а строить так, будто никаких чертежей и не было . . . | ...one should draw and not think about whether the project will be implemented or not, and built in such a way as if there were no technical drawings...

каждого, по-своему уникального места. Глав- ное же, что всегда присутствует в его видени- ях, – спонтанность. Он считает, что рисовать нужно, не думая о том, будет проект реали- зован или нет, а строить так, будто никаких чертежей и не было, т.е. по новому – не по предначертанному плану. Строительство и проектирование должны быть спонтанными – утверждает архитектор. Вудс был моим профессором в Купер Юни- он, но упоминаю я об этом вскользь. Многое в нем до сих пор остается непонятным и стран- ным. Согласно его заданию, студентам было предписано создать не подчиняющийся ни- каким правилам и иерархиям узор. Во всем же, что придумывал я, Вудс уличал скрытые замыслы и закономерности и продолжал воз- вращать меня в исходную позицию, не давая начать и развить проект. Разгадку я нашел в отвлеченном тексте, соединив в нем повто- ряющиеся буквы пересекающимися прямыми линиями, которые и стали началом хаотичной внесистемной архитектурной формы. В конце

концов профессор поверил ученику, а ученик профессору, хотя и не безоговорочно. Однако вернемся к путешествующему во времени Джо. Удалось ли ему предотвратить почти неминуемый конец света? Для ответа на этот вопрос нужно досмотреть фильм. А вот изменят ли мир к лучшему рисунки и идеи Вудса? Любопытно, что создатели фильма «12 обезьян» забыли оповестить архитектора о том, что один из его рисунков решено было воскресить в Голливуде, нарушив тем самым закон об авторском праве. Тем лучше. Он сам напомнил продюсерам о себе и согласно пос- тановлению суда истцу была выплачена круг- ленькая сумма в пять миллионов долларов! Творчество художника получило мощную под- держку. И если не сам Вудс, то кто-нибудь и когда-нибудь, следуя его радикальным взгля- дам, сумеет построить свободный город буду- щего, в котором как в книге можно будет про- честь сложную, запутанную и очень красивую историю человечества – счастливую, печаль- ную и, конечно же, радикальную.

Woods knows about events that took place in Sarajevo in ear- ly 1990s firsthand. He visited the city before and after the mil- itary operations, therefore real buildings destroyed in war ap- pear in his project. One of the central fragments of this project is the building of the Parliament in the centre of the city, which has been almost completely destroyed. Woods thinks that it does not have to be rebuilt to appear in their original form. Being an icon of the city, the building has gone through a par- ticularly violent shelling. Woods claims that former bureau- cratic form should not take its initial appearance both spatial- ly and functionally. The war has changed everything, includ- ing the structure of the society as a whole. One cannot allow erasing old cities in order to build new ones. Woods believes that affected buildings should be respected and maintained. They should be given a chance to leave their trace in history. Their deformed shapes foresee new opportunities and mean- ings. Such decisions do not celebrate the destruction of the established order, and they do not call for perpetuating memo- ries. They rather accept some particular heroic role of creating something new instead of something that has been lost. Probably, it makes no sense to look for formulas of construct- ing a perfect city of the future in Woods’ projects. You can rather find warnings against many inevitable phenomena of the con- temporary society, such as globalization, standardization, uni- versalization, predictability etc. In his works Woods virtually on his own celebrates the following things: difference, tolerance, self-sufficiency and unrivalled beauty of each unique place. The important thing is that his visions always have certain sponta- neity in them. He believes that one should draw and not think about whether the project will be implemented or not, and built in such a way as if there were no technical drawings, that is, ac- cording to a new plan, not the destined one. Construction and design should be spontaneous, the architect claims. Woods was my professor in the Cooper Union, but I only men- tion it in passing. Many things remain unclear and strange. According to his task students had to create a pattern that would not follow any rules or hierarchies. In all patterns I could think of Woods was able to find hidden intentions and conformity to laws and kept pushing me back to my initial po- sition, not giving me an opportunity to start and develop my project. I found an answer in an unrelated text, where I linked all the repeated letters with intersecting straight lines, which I then used as a basis to create a chaotic and non-consistent architectural form. In the end the professor trusted his stu- dent, and the student trusted his professor, although not with- out reservation. But let’s go back to Joe travelling in time. Did he manage to prevent the almost inevitable apocalypse? In order to an- swer this question one should see the film till the end. And will Woods’ ideas and drawings change the world to the better? It is interesting that the producers of the film «12 Monkeys» forgot to inform the architect that one of his drawings would be reanimated by Hollywood, violating the copyrights by doing so. So much the better. He reminded the producers of himself, and according to the court decision the claimant has been paid a round sum of five million dollars. The artist’s creative work has received massive support. And if not Woods himself, then someone else will follow his radical ideas and will be able to build a free city of the future sometime, where one would be able to read, as if one reads a book, a complex, complicated and a very beautiful story of the mankind, a happy, sad and certainly a radical story.

Босния: Свободное состояние, Радикальная реконструкция / Bosnia Free-State, Radical Reconstruction

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