Abstract
One of the surprises at the major retrospective of Herzog and de Meuron’s work shown in the Schaulager in the Emanuel Hoffmann-Stiftung in Basel in spring 2004 was a large dark red “sugar object” displayed on a table-top. It turned out to be a tub of hard, glass-clear molasses with a large number of stalagmites rising from it like a fountain, vaguely reminiscent of Henry van de Velde’s architectural forms or certain details in the nearby Goetheanum in Dornach. Making this object must have cost a considerable effort — the individual, often adventurously fragile forms were obviously produced by dripping and then raised to an upright position after cooling.
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References
Lynn, Greg: Architectural Curvilinearity. The Folded, the Pliant, and the Supple, in: Architectural Design (special issue on “Folding in Architecture”), 1993, no. 3–4, p. 8; see Paulette Singley and Jamie Horwitz: Introduction, in same author, (ed.): Eating Architecture, Cambridge, MA/London (MIT Press), 2004, pp. 5–17 My own interest in the subject of “gastronomy” goes back to a study of design history in Switzerland (Industrieästhetik. Ars Helvetica, vol. XI, Disentis, 1992, s. pp. 71–90). I have Paul Hugger to thank for some valuable ideas; he carried out a teaching event with me at the University of Zurich (1991/92). The above-mentioned anthology by Jamie Horwitz and Paulette Singley did not appear until after the reading of the present text at Kloster Eberbach and proved indispensable for sharpening my thinking on the subject. To my shame it was there I first found the important essay by Marco Frascari already published in 1986: Semiotica ab Edendo. Taste in Architecture, ibid., pp. 191–203.
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A chapter on American Streamline Design in Max Bill: Form. A survey of formal development around the mid XX century, Basel (Werner), 1952, carries the title “Vom Werkzeug zum Schleckzeug” (Eng.: From Making to Faking; Fr. De l’outil à la sucrerie), p. 46ff
Le Corbusier: Classement et choix, in: Esprit Nouveau, no.21, reprinted in same author: Urbanisme, Paris (Crès), 1925, p. 57. For a more detailed discussion of this “menu” see: Stanislaus von Moos: Voyages en Zigzag, in same author and Arthur Rüegg (eds.) Le Corbusier Before Le Corbusier, New Haven/London (Yale University Press), 2002, pp. 22–43
Le Corbusier: Urbanisme, op.cit., p. 56
Ibid., p. 56f.
Ibid., p. 58 Working on the basis of Colin Rowe’s and Bernhard Hoesli’s ideas, Jamie Horwitz and Paulette Singley remember that architecture and gastronomy also interact directly in Le Corbusier’s concrete design practice. Writing about Le Corbusier’s still life painting, they say: “...one might hazard the assertion that for modern architecture and urbanism the production of architecture moved from the tabletop — loaded with its scattered debris of crockery and foodstuffs — to the canvas without ever having looked at the site” (Introduction, in: Eating Architecture, op. cit., p. 17). Following George Hersey, they locate the conditions fort his analogy in the world of cult.
For the problem field of “Dalí and architecture,” see sources including: Dalí Arquitectura, Barcelona (Fundacio Caixa de Catalunya/Fundacio Gala-Salvador Dalí), 1996; Montse Aguer, Félix Fanés and Juan-José Lahuerta (eds.): Dalí, Salvador. Dream of Venus (Fundacio “La Caixa”/Fundaciò Gala Salvador Dalí) Bonet, Llorenç: Gaudí / Dalí, Sabadell (H. Kliczkowski-Onlybook), 2002, and also Schaffner, Ingrid and Schaal, Eric: Salvador Dalí’s Dream of Venus. The Surrealist Funhouse from the 1939 World’s Fair, New York (Princeton Architectural Press), 1999. — For the field of tension Le Corbusier — Dalí see Lahuerta, Juan José: Decir ANTI es decir PRO. Escenas de la vanguardia en Espana, Teruel (Museo de Teruel), 1999
Dalí, Salvador: De la beauté terrifiante et comestible de l’’architecture Modern Style, in: Minotaure, 1933, nos. 3–4, pp. 69–76.; cf. also Dalí’s later text on Guimard: Cylindrical Monarchy of Guimard, in: Arts Magazine, New York 1970, nos. 44:5, pp. 42–43
“De la beauté terrifiante et comestible de l’architecture Modern Style”, op.cit.
Ibid.
Frascari, S. Marco: Semiotica ab Edendo. Taste in Architecture, in Horwitz, J. u. P. S., Eating Architecture, Cambridge, MA (MIT Press), 2004, pp. 191–202 (first pub. 1986)
Gimenez-Frontin, J.-L.: Teatre-Museu Dali, Madrid (Tisquets/Electa), 1994; 2001
Dalí, Salvador: Das geheime Leben des Salvador Dalí, München (Schirmer-Mosel), 1984, p. 376; see also: Salvador Dalí 1904–1984, Stuttgart (Hatje), 1989, pp. 88 and 174
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Venturi, Robert: Süss-Sauer. Eine Methode der vergleichenden Analyse und ein Entwurfsverfahren, die manieristische Dualität einbegreifen. Plädoyer für eine “neutrale” Architektur als Hintergrund für Ikonographie und elektronische Medien, in: archithese, no.6. 1995, pp. 6–12
Brillat-Savarin, Physiologie du goût, op.cit., p. 20
Quoted from Frascari, Marco: Semiotioca ab Edendo, op.cit.
Frascari, Marco, op.cit.
translated by Michael Robinson; original German text: “Geschmack ist das Beurteilungsvermögen eines Gegenstandes oder einer Vorstellungsart durch ein Wohlgefallen, oder ein Missfallen, ohne alles Interesse. Der Gegenstand eines solchen Wohlgefallens heißt schön.” Kant, Immanuel: Kritik der Urteilskraft, Wilhelm Weidschedel (ed.), Wiesbaden, 1974, S. 124; full English text in: Kant, Immanuel:Critique of Judgement, trans. James Creed Meredith, Oxford 1911. The corresponding statement by Hilmer & Sattler is to be found in: Baulig, Josef Walter: Geschichte und Rezeption. Theorien und Projekte: Heinz Hilmer & Christoph Sattler, Oswald Mathias Ungers, Johannes Uhl, (diss., unpubl.), 1986, p. 40
Collins, Peter, op.cit., p. 169f
“Le goût dépravé dans les arts est de se plaire à des sujets qui révoltent les esprits bien faits; de préférer le burlesque au noble, le précieux et l’affecté au beau simple et naturel: c’est une maladie de l’esprit.” Voltaire: Goût, in: Diderot, Denis und d’Alembert, Jean le Rond (ed.): Encyclopédie ou dictionnaire raisonné, Paris, n.y.
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von Moos, S. (2007). Rules of Fasting and Desire Derailed. In: The Architect, the Cook and Good Taste. Birkhäuser Basel. https://doi.org/10.1007/978-3-7643-8483-8_7
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