|Untitled, 2006 (Image by Author)
||Cy Twombly at Home, Rome, 1966 (source)
Architectural educators often rely on the precedent to make distinctions between good and bad architecture. Works by esteemed practitioners such as Herzog and de Meuron, or Sejima and Nishizawa are dissected and documented in an effort to determine what makes them successful as buildings and as works of art. While important lessons may be learned, the danger of such idolatry for the nascent designer is in its capacity to influence. Architecture schools, which should be places of free exploration and experimentation instead become factories for the production of architectural pastiches, or collages, inspired by a few great men. Once naive and unpredictable thinkers, admirable qualities in youth, are transformed into mediocre purveyors of good taste.
E. Sean Bailey
Cy Twombly drew deep inspiration from classical mythology and allegory. Recalling an artist with similar antique interests, he said ‘I would’ve liked to have been Poussin, if I’d had a choice, in another time’.
Twombly produced gestural works which bore scrawls resembling names such as ‘Virgil’. Roland Barthes claimed that though Twombly produced images that resembled words, they were stripped of their meaning – mere traces.
His home, a palazzo on the Via di Monserrato in Rome, like his works, evocatively represents articles originating in the distant past, in a present context.
Erandi de Silva
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