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In a wave of successfully created "utopian" architecture, modern architects from Virilio to Le Corbusier, Louis I Kahn and Aldo Van Eyck, invented welcoming environments that transcended the "limitations of both the postmodern and hyper-modern stance and orthodox modernist architecture" (Coleman, p. 332).
Coleman, in his book Utopias and Architecture, claims that architects, particularly Le Corbusier, Kahn and Van Eyck challenged the assumptions of their current architectural discourse, building modern buildings that had welcoming environments and transcended popular limitations imposed on them. He states that the usefulness of utopias for thinking through problems in architecture provides the architect with a place from which to invent whole utopias. Yet the distance that a true utopia locates itself in encourages them to expand horizons for projects as nothing else could (p. 10).
Karl Mannheim said that Utopia is a concept that is the lifeblood of social imagination (p. 10) and Paul Ricoeur elaborated that Utopia is progressive, while ideology is conservative. Utopia can be constitutive, as well, with comprehensible patterns of social life and architecture as part of that pattern, allowing complex order within architecture with utopian character. From the primitive hut surrounded by an archaic garden, to the flying panels of contemporary glass shields (such as those on the new Avery Fisher Hall designed by Meier), the architect reaches into his or her imagination to recreate space in which a human can live life to the fullest.
Not only architecture, but poetry, philosophy, history, gardening and fine art have their place in the depiction of utopia, all of them creating artificial utopias for the human mind to live in. Matisse, Magritte and Dali imagine spaces where the spirit roams (or floats) free. In the imagination of a surreal artist, the world has enough elements, even in adverse times, that an artist can rearrange it and recreate it. The construction of utopias have thus been recreated by fine artists from all walks and cultures. The construction of philosophical, political and poetic utopias may occur separately or all together in an artist's repertoire.
In San Francisco a group of artists participating in the Capp Street Project have made a successful statement about utopias. Artists such as Paul McCarthy, Annika Strom, Elizabeth Diller and Ricardo Scofidio write books and explore themes of domesticity, architecture, the home and the body of an imagined resident in their exhibitions. The Capp Street Project was the first visual arts residency in the United States dedicated solely to the creation and presentation of new art installations. Since 1983, this project has provided a residence and exhibition space for the artists to live and create in. It has been so successful that it has been covered by (and been on the cover of) Artforum, and Artnews. Utilizing and reforming a space in whatever form they want, artists are given the time and space to create their own brand of the future.
In November of 2006 through March 2007, the Logan Galleries of the California College of the Arts in San Francisco presented an exhibition entitled How to Build a Universe That Doesn't Fall Apart Two Days Later, featuring the work of Can Altay, Nate Boyce, Andreas Dalen, Rick Guidice, Jakob Kolding, Shaun O'Dell, Toby Paterson, Eileen Quinlan, Eva Rothschild, Katya Sander, William Scott, Solmaz Shahbazi, Bonnie Sherk, and Gitte Villesen. It was an exhibition of the futuristic imagination of these artists contrasting with visions of the future put forth in the mid-1970's. Utilizing the theme of an essay by the same title by Philip K. Dick, they compared "the speculative building of worlds by artists and writers to scenarios imagined and constructed by governments, corporations and the mass media" (Press) One of the projects was a garden of the future actually created beneath the Army Street freeway interchange in 1974. It also incorporated NASA plans for U.S. colonization of space with illustrations by Rick Guidice and other ideological narratives concerning the future of the world. During the 1970's idealism hit a peak and the United States felt that there was no star to far to reach, as this exhibit tells the viewers.
The artists who put up contemporary...
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