John Hejduk On Architecture by Yu Cao

"the thoughts of a private house should be kept secret."

"the aroma of a room is defined by woman's presence and by her absence."

"moonlight within a house is the darkest light imaginable."

"a woman washes her body as moonlight washes a house softly."

Inspirations by Yu Cao

Light, ventilation, thermal and moisture control, structure, economy, light is the spirit of a building, ventilation its breath, thermal the body temperature, structure the skeleton, economy its wealth, skin the apparel, program its attention.

Picasso, Matisse, Warhol, a painter after Warhol, Buffet, Rockefeller, Frank O'Hara, Frank Gehry, Le Corbusier, Buddha, 

Building, poem. Buildings, poems. The immediacy of building, the quickness of building, the collective attention of building, 

The Spontaneity and immediacy from necessity.

When a building is only the necessary, it is a poem. 

Hand make model, drawing with color, digital modeling, digital drawing, 

Frank O'Hara & Immediacy by Yu Cao

"The scale of the painting became that of the painter's body, not the image of a body, and the setting for the scale, which would include all referents ,would be the canvas surface itself. Upon this field the physical energies of the artist operate in actual detail, in full scale ... It is the physical reality of the artist and his activity of expressing it, united with the spiritual reality of the artist in a oneness which has no need for the mediation of metaphor or symbol. It is Action Painting." pp.23 "openness, quickness, immediacy," Immediacy-- all that need to know is on the surface, the materiality 

"transform his (Oldenburg) materials into something magical and strange," "theres no hint of mysticism, no 'significance,' no commentary, in the work." 'the aesthetic of presence rather than transcendence, the esthetic of culmination rather than examination,' "The best of the current sculptures, didn't make me feel I wanted to have one, they made me feel I wanted to be one." 'If the art work has presence and if the beholder is as attentive as possible, the process of identification thus becomes complete.'pp.24 

"the objective in writing is to reveal," "there is not the nineteenth century Romantic identification, but a recognition."

"the 'aesthetic of attention' invites our response so that ultimately the poet's experience becomes ours."pp.136

Frank O'Hara: Poet among painters, by Marjorie Perloff, New York


Le Corbusier On Architecture by Yu Cao

****"The key is light/ and light illuminates shapes/ and shapes have an emotional power./ By the play of proportions/ by the play of relationships/ unexpected, amazing. / But also by the intellectual play of purpose:/ their authentic origin,/ their capacity to endure,/ structure/ astuteness, boldness, even temerity, the play of those vital abstractions which are the essential qualities the components of architecture. "pp. chapter II [][][][][][][][]Both Matisse and Le Corbusier emphasize "relationships," Corbu also uses "proportions," Matisse "compositions", and "differences." They all aim for "emotional power".[][][][][][][][][]

"The south wall provokes astonishment."

"All the internal harmony of the work is in the drawings. This has been so since the loftiest and most ancient cultures. It is incredible that artists today should be indifferent (even hostile) to this prime mover, this 'scaffolding' of the project." [][][][][][][]Where architecture is? Working drawings. Calculations and working drawings. Signs and numbers.[][][][][][][]

"The work is finished. Come what come may." 1956 Dec

"The positioning of the essential elements of worship... I felt an increasing uneasiness about it, I concentrated on it and today, two years later, I began to draw; I made these five drawings. These drawings embody a thought which brings order, hierarchy and dignity, a thought inducing a fundamental drama. From being inert and neutral things they become active, stirring and significant. In this way the drama is unfolded, is played and is comprehended. This focusing is an act of architecture, an act having a real relation to architecture ... architecture which puts all in order and regulates." Paris, 6/26/1957 [][][][][] Working drawing--an act of architecture that has a real relation to architecture, architecture composes relationships into drama/significance. "Drama" is also what Matisse and Corbusier both emphasize. I want to play in the field that has a real relation to architecture.  [][][][][][][]

"The Parthenon is a drama."

****"When pondering  and working out a project (town planning, architecture or painting) always a long process, I bring into focus, I realize, I come to the point. I have made an immense effort without a word spoken, without speech, in the silence and solitude; over the drawing boards of my office at 35 rue de Sèvres I do not speak; my private office (used for patient research) at Auteuil, is opened to no-one. There I am alone. Never in my life have I 'explained' a painting." 1956 [][]Solitude and realization/creation, focus studio/drawing board is where I AM ALONE.[][] 

The Chapel at Ronchamp by Le Corbusier, Frederichk A. Praeger, New York, 1957



"The business of Architecture is to establish emotional relationships by means of raw materials.  Architecture goes beyond utilitarian needs. Architecture is a plastic thing. The spirit of order, a unity of intention. The sense of relationships; architecture deals with quantities. Passion can create drama out of inert stone."pp.5

"Contour and profile are the touchstone of the architect. Contour and profile are a pure creation of the mind; they call for the plastic artist."


Essential Le Corbusier, by Le Corbusier,  L'esprit Nouveau Articles, Architectural Press





"Philip Guston's Late Work" by Yu Cao

"I want to be complete again, as I was when I was a kid." pp.89

"What is believed to be boldness is only awkwardness. So liberty is really the impossibility of following the path which everyone takes and following the one your talents make you take."--Henri Matisse pp.88

edited by william corbett 

"Even as one travels in painting towards a state of 'unfreedom' where only certain things can happen, unaccountably the unknown and free must appear."

"Usually I am on a work for a long stretch, until a moment arrives when the air of the arbitrary vanishes, and the paint falls into positions that feel destined."

"I thinking the only pressing question in painting is: when are you through? For my own part it is when I know I've 'come out the other side.' This occasional and sudden awareness is the truest image for me. The clock-like path of this recognition suppresses a sense of victory; it is an ironic encounter and more of a mirror than a picture."

"I stay on a picture tunnel a time is reached when these paradise vanish and conscious choice doesn't exist."

"It is the bareness of drawing that I like. The act of drawing is what locates, suggests, discovers. At times it seems enough to draw, with the distractions of color and mass. Yet, it is an old ambition to make drawing and painting one."

"To will a new form is unacceptable, because will builds distortions. Desire, too, is incomplete and arbitrary. These strategies, however intimate they become, must especially be removed to clear the way for something else--a situation somewhat unclear, but which in retrospect becomes a very precise act ... There are twenty crucial minutes in the evolution of each of my  paintings. the more intensely subjective I become, but the more objective too. Your eyes gets sharper; you become continuously more and more critical. ... There is no measure I ca hold on to except this scant half-hour of making."

"It's a long, long preparation for a few moments of innocence."