Van de Velde's name is tied in architectural histories to two major issues: the episode of Art Nouveau and his role in the 1914 Werkbund debate in Cologne. Van develde's reading of different philosophical sources from Schopenhauer to Nietzsche and Souriau went principally towards the specific considerations of art.
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Texto 03; Elie Haddad ''the Realization of the Beautiful''
Van de Velde's name is tied in architectural histories to two major issues: the episode of Art Nouveau and his role in the 1914 Werkbund debate in Cologne. Van develde's reading of different philosophical sources from Schopenhauer to Nietzsche and Souriau went principally towards the specific considerations of art.
Van de Velde's name is tied in architectural histories to two major issues: the episode of Art Nouveau and his role in the 1914 Werkbund debate in Cologne. Van develde's reading of different philosophical sources from Schopenhauer to Nietzsche and Souriau went principally towards the specific considerations of art.
van de Veldes Aesthetic Theory Elie Haddad The unhistorical (the power to forget) and the super-historical (art and religion) are the natural antidotes against the overpowering of life by history; they are the cures for the historical disease. We who are sick of the disease may suffer a little from the antidote. But this is no proof that the treatment we have chosen is wrong. Friedrich Nietzsche 1 Henry van de Veldes name is tied in architectural histories to two major issues: the episode of Art Nouveau, and his role in the 1914 Werkbund debate in Cologne where he confronted Muthesius on the question of standardization in design. And although both of these episodes represent foundational positions in his development, yet they do not in any way give a fair representation of the complex theoretical path that van de Velde traced throughout his life, and which appears, as I argue in this paper, to be consistent with a dialectic between rational conception and empathy that finds its resolution in a peculiar interpretation of the notion of ornament. 2 This dialectic, with its first element drawn from the scientific discourses and rationalist philosophies of the nineteenth century, and its second owing to developments in psychology, found its resolution in an aesthetic theory where the element of ornament plays an essential synthetic role. The organic conception of ornament was in turn based on the notion of the line- force 3 as its operative principle, a principle that acts as the connecting thread between the human hand and the material waiting to be brought to life by its action. Yet this conception of an organic ornament did not appear to play a role beyond the confines of a personal artistic will, as his writings did not go beyond the questions of a practical aesthetic to address their related philosophical consequences. In fact van de Veldes reading of different philosophical sources from Schopenhauer to Nietzsche and Souriau went principally towards the specific considerations of art, without paying great attention to the whole philosophical system from which they were issued. Yet he was still very coherent in his pursuit of a practical theory based on the rational and consequent principle of design, which would not exclude the human subject from its domain. Why then did the artist turn to philosophical figures like Schopenhauer and Souriau, simply extracting a reductive interpretation of their theory, rather than relying on the more practical theories of someone like Viollet-le-Duc, when the notion of rational conception appears as a closer relative to Viollet-le-Ducs, than to F A B R I C A T I O N S Vol 13, No 1, June 2003 2 Schopenhauers. The question may then be partly explained by the importance that philosophical theories still played at the beginning of the twentieth century in any aesthetic theory, which led a practical theoretician like van de Velde to seek support for his theory directly from philosophical sources. Before van de Veldes engagement with French and German aesthetics, one principle source had already shaped or confirmed his intuitions: the English theorists of the Arts & Crafts movement, and principally William Morris and Walter Crane. To Morris he owed his reorientation to the field of decorative arts, while to Crane he owed some of his original ideas, albeit dressed in a different garb. In fact we find in Crane an early discussion of the constructive line as well as a comparable interest in the ornamental patterns of early civilizations, probably inspired by Semper, and detailed discussions of the various aspects of design including ornament. 4 Yet in contrast to Crane, van de Veldes style of writing followed less the rational expos, and more the passionate appeals addressed to a community of enthusiasts or believers, in the manner of Ruskin. Behind van de Veldes intentional or unintentional disregard of the other architectural texts that could have also been useful in his early theoretical foundation may have been his distrust of the debates that circled around questions of styles, rather than the search for the style. Van de Velde sought therefore a modern theory that avoided any reference to historical models, grounding itself on an a-historical foundation. In his theory, rational conception became this a-historical ground on which artistic activity would take place. Yet it would be erroneous to reduce all his theory to that simple concept, as rational conception was van de Veldes stepping stone to reclaim the artwork from the jumble of historicist contaminations to purify it and denude it of all excesses. Nietzsche, whose influence was perceptible on van de Veldes writings, 5 most succinctly expressed this contemporary revulsion against historicism when he said: The excess of history has attacked the shaping power of life; it no longer understands how to utilize the past as powerful nourishment. 6 It was therefore necessary to break out of this condition by simultaneously confining oneself to an a-historical horizon where history is momentarily suspended, as well as bringing artistic activity closer to the realm of religion, the other supra-historical faculty that is capable of lending existence the character of something eternal. Van de Velde may have misunderstood this religious dimension in Nietzsche as an appeal to morality, which is very clear in his early theoretical formulations; while later it reappears in the notion of empathy, a close relative to Nietzsches idealization. Against this Nietzchean background, we can better understand van de Veldes subsequent turn to a metaphysical perception of the artistic work as pure form, still conceived on the foundation of rational conception. The desire for a more basic form, in the sense of answering to functional needs, was superseded by the necessity of reaching beyond this temporal present towards a metaphysical realm where the depreciating effect of time on things would be countered by the ideal of the eternal. One can posit here a movement in three phases, from the world of inanimate matter to the world of animate forms, then to the world of eternal forms. The The Realization of the Beautiful 3 passage from the first phase to the second would happen through the projection of the human will into the object to be createdthat is, through empathythe ornamental line acting as the principal agent of this synthesis between empathy and rational conception. The passage to the last stage would be the exclusive property of the purest forms where the agent of synthesis, the line, totally dissolves into the structure of the thing created. In a rather surprising move, the Greek temple, this historical model par-excellence was presented by van de Velde as the ultimate example of this condition: le Temple Grec! - comme une cration palpitante, se dressant devant nous, de l'aveu de Ruskin, 'infaillible, resplendissante, clairement dfinie et matresse d'elle- mme'! 7 Within pure forms, ornament ceased to play a major role as the means of animating the form as well as a catalyst of the synthesis, yet this only happened after the dissolution of ornament into the form itself, its coincidence with the form rather than its elimination. Only much later, did van de Velde concede to a deliberate abstention from ornament, an abstention that would in his view prepare for the reawakening in the edifice, the object, or the human body of a sovereign ornament realized through the diverse play of proportions and volumes, animated by a rhythm that carries and transports like a musical sentence or a poem. 8 The line which carried the energy of the human being into the work, expressively animating it, was now more latently absorbed into the internal structure of the thing, leading to an idealized organic conception of the work of art which coincided with his idea of the eternal forms. Eternity was defined as the moment when form realized this equilibrium of internal forces, a moment where ornament was reduced to its essential: It is these activities that seem to have provoked the form, fixed its aspect. The modifications, of which the form is the last consequence, reached an end at the moment that these internal forces neutralised their energy, in a perfect equilibrium of effects and causes. This moment becomes, as of that instant, eternity! We could conceive forms that realize this equilibrium, without the help of ornament, and these are the most perfect forms. In their simplicity, they have realized a linear scheme constituting in-itself and without any complementaries, a perfect eternal ornament! 9 It is important to stress the last sentence of this statement where the author explicitly reaffirmed that such eternal forms have realized a perfect eternal ornament. Van de Velde had somewhat modified his earlier positions when he criticized the elimination of ornament as a denial of life itself, akin to the artificial life one lives in a convent, where men and women live in constant negation of their function and gender, and as an expression of a decadent ideal, that which posits the renunciation of life as a condition of sanctity, that which sees only in death the remedy to all injustices. 10 The concept of form became thus impressed by, or transformed into, the ideal of a transcendent, yet still organic, beauty where the dissolution of ornament into form was now seen as the highest level of resolution. The medium of translating F A B R I C A T I O N S Vol 13, No 1, June 2003 4 this ideal into form remained nevertheless the human hand of the craftsman or the artist, and not the standardized process of a machine. Thus the line-force remained the principle of individuation even in such cases where ornament naturally dissolved into the structure of the thing. Not a geometric, or intellectually mediated line, but a visceral line that draws its energy from the human hand which traces it and transmits this energy into the object thus created. This line simultaneously manifests the will of its engraver and responds to the material on which it is engraved. It is clear that the most immediate instances of such a relationship could be found in the hand-crafted objects, in van de Veldes own designs for vases and other objects, as well as in the furniture that responds to the human body and its movement. But he also attempted with various degrees of success to translate this into architecture. There, the response of the object to the human being who moves in it, may be mediated through the means of an ornament which acts simply as a means to appropriate space; and his Manuscript on Ornament 11 offered its most telling illustration, the action of the cave-dwellers who incised, scraped, and coloured their cave walls with a frenzy that recalls Nietzsches Dionysian spirit. Yet van de Velde realized in practice that the process of building could not simply be reduced to that, and that the shaping of architectural form was subject to other technical factors. Principally, it was the rational conception of things that prevailed in such circumstances, leaving the possibility for a few forms to attain that higher degree of perfection, forms that could resolve this dialectic of empathy and rational conception by simultaneously expressing their principle of individuation and resolving their functional and utilitarian tasks. Whereas the organic presented the first stage of this activity where the animation of form transformed the rationally conceived objects into organic artifacts, the ideal of pure forms characterized the second stage where the mere organic was superseded by the resolution of the dialectic of form. 12 As mentioned, van de Veldes primary model of such an organic ideal form was the Greek temple where the line-force did not manifest itself in the decorative patterns, but as a material line in the curves of the stylobate and the entasis of the columns, that is as the expression of latent physical forces mediated by the human spirit. In such examples, ornament is transformed into a con-structive element where the un-ornamented appearance, in his opinion, appears as the logical consequence of the coincidence of structure and form, or to put it differently, of the dissolution of appearance into essence. There, the structive- linear element appeared as the transmutation of the earlier empathic line, or as its analog in material form. In one of the sections of his major theoretical collection Les Formules de la Beaut Architectonique Moderne, van de Velde had given an explanation of this structuring function of ornament, with connotations that recall both Btticher and Semper: Ornament thus conceived completes the form, it acts as an extension to it and we recognized the sense and the justification of ornament in its function! This function consists in "structuring" form and not in "ornamenting" it, as we are tempted to commonly understand it. Without the support of this structure, on which the form adapts itself as the envelope of a flexible cloth on its frame, or the skin on the bones; the form would become altered or would completely collapse! The Realization of the Beautiful 5 The relations existing between this "structural and dynamographic" ornament and the form or the surfaces, appear so intimate that the ornament seems to have determined the form! This determination enters into the natural order of things which considers that the clothing and the dressing have substituted for the structure, for the internal frame! 13 This idea was more elaborately developed in the Manuscript on Ornament where the structuring role of ornament was exemplified by the activity of body tattooing, as well as that of the primitive engraving on the cave walls. In both cases, the structive-linear ornament was interpreted as a binary function which simultaneously ornamented as it structured the form, this may be understood in simpler terms as the function of manifesting the internal order of a form by expressing it externally, thus raising the internal order to the level of an external phenomenon. This ornament, van de Velde further clarified in another text, was also the image of the internal play of forces that we feel in all forms and materials. These ideas may be seen in lineage to the tradition of metaphysical idealism that, after Schiller, attempted to resolve the opposition between reason and emotion. Schiller had proposed his own aesthetic synthesis that connected mans sensual drive and instinct to his intellect. Croce thus summarized this concept: The man who plays, i.e. contemplates nature aesthetically and produces art, sees all natural objects as animated; in such a phantasmagoria mere natural necessity gives place to the free determination of the faculties; spirit appears as spontaneously reconciled with nature, form with matter. 14 Schopenhauer, in his own way, also tried to reconcile spirit and nature, by positing the whole world of nature, the world of objects, as conditioned by the subject, and both objects and subjects as simply the general forms of the world. Van de Veldes own version was based on a more spontaneous, intuitive and practical theory. In his practical theory, ornament also appears to resolve the dualism of subject and object, of artistic will and rational conception by manifesting the objects common properties with the rest of natures creations, as well as with the human spirit. Underlying all these different phenomena, van de Velde saw one common factor: force. It is this same force, which in some aspects mimics Nietzsches will-to-power, that he referred to at the end of the Manuscript, as he concluded: Our efforts have tended towards re-uniting with a tradition of life considered as a phenomenon, its most pure and unchanging expression being force, our efforts have tended to re-connect with a tradition of beauty elevated above contingencies and naturalistic aspects, and perceived through the supreme order and harmony of organized forces. 15 This supreme order and harmony of organized forces may be the other terminology for what he understood as the organic will-to-power. The Manuscript on Ornament above all reconfirmed this organic aspect of the artwork, bringing it all the way back to the pre-historic human activity found in cave art. The artist, or the form-giver, by infusing the artwork with his energy, animated the forms into living manifestations of the represented beings. This basic human urge is the same that permeates the act of creation on the human F A B R I C A T I O N S Vol 13, No 1, June 2003 6 body in the form of tattooing, the same that orders and animates the most ideal forms, as in the Greek temple, and the simplest forms such as the farmers tools. Behind this anthology of different creative forms lies the desire for a comprehensive order. This drive towards an all-inclusive totality which seeks common links between disparate manifestations of forms from tools to temples was a characteristic of other conceptions in the nineteenth century, in reaction to the analytical and mechanical epistemologies of the previous century. Georges Gusdorf characterized this as a trans-empirical form of knowledge that sought to offer an alternative model of reality, inspired in large part by the Romantic tradition and its rapprochement with nature. This Romantic tradition defined an organology which is inspired by the dynamics of fluidity, of the continuous metamorphosis of a vital becoming. 16 It is this dynamic that explains van de Veldes particular interpretation of the Greek temple and other Classical forms, and indicates a phenomenological dimension in van de Veldes thought, where form in its various appearances is seen as manifestations of a single underlying idea. This attempt to posit an organic order that regulates the different manifestations of form marks the theoretical distinction between Henry van de Veldes conception and Alois Riegls. Although they both placed an emphasis on the role of the will in artistic creation, Riegls Kunstwollen did not go so far as to stress this vital relation to the human body, this dynamic order of form. For Riegl, the artistic will remained by and large tied to an intellectual activity, whereas van de Velde stressed its separation from the intellect and its connection to a more innate, organic drive. In his own practical work, van de Velde was not as able in translating this theory into form, and as such, he may have appeared stuck in the stylistic impediments of his Art Nouveau phase. This partially explains the inconsistencies in his design approach to different problems as well as the ambiguous relationship between his writings and his architectural projects, an ambiguity that was not unusual in that specific time and context. 17 Figure 1: Dynamographic Patterns, Studies of Weimar Workshop Courtesy Henry van de Velde Archives, La Cambre, Bruxelles. In fact, the experiments to which van de Velde subjected his students at the Weimar School appear to run against his projected aim, for they illustrate the development of patterns or types of so-called dynamo-graphic ornaments, which The Realization of the Beautiful 7 negate this spontaneous engagement of the subject in the object, reducing it to the production of patterns. (fig 1) Similarly, the early manifestations of ornamentation, as in the Folkwang Museum (fig 2) do not show this organic conception of the work of art, rather they simply cover the inner structure with an organic appearance, answering more to Sempers theory of Bekleidung than to his own theoretical premises. Most of his practical work in fact failed to demonstrate his theoretical position, for they either fell into a more decorative ornamental activity as in the Folkwang Museum, or into a normative rational conception as in the case of the Hohenhof (fig 3) and other domestic projects of 1908-1914. Other works avoided altogether this issue as they were caught in another problematic, as in the case of the Nietzsche Memorial (fig 4). 18 Figure 2: Folkwang Museum, Hagen, Stair Detail. Photograph Elie Haddad. Figure 3: Hohenhof Villa, Hagen. Courtesy Henry van de Velde Archives, La Cambre, Bruxelles. F A B R I C A T I O N S Vol 13, No 1, June 2003 8 Figure 4: Nietzsche Memorial, project, unrealized. Courtesy Henry van de Velde Archives, La Cambre, Bruxelles. A hint of this possible interpretation in his own built work of the period may be read in the Villa Esche of 1902-4, with its suggestive details. Villa Esche was van de Veldes first construction on German soil. A large house built for the wealthy industrialist Herbert Esche in one of the plush suburbs of Chemnitz in 1902, it stood as a monument on the hill from which it overlooked the surrounding landscape (fig 5). The quasi-symmetry of the plan is not reflected in the elevations which present a more complex appearance due to the different articulations on each side. In one part of the house, the balcony detail at the back, the inner organs of the form manifest themselves outwardly in an expressive play of forces (fig 6). Here, one can read the play of structural lines carrying the balcony through this statement that we find in the Manuscriptyears laterwhere van de Velde speculated on the relationship between line and body: [...] the action of determining [body] contours is more effective and the line which engages these surfaces can only, it seems to me, roll itself, and in this case it replaces the structure. In rolling itself, it has concentrated and stored the energy that becomes itself the guarantor of the invariable permanence of form. 19 This statement appears like an accurate description of the role played by linear elements in this specific building, where the line effectively acts as a structuring element mediated by, as well as mediating the body it engages. The flexing curves that suspend the balcony are in fact syntactical elements that respond to, as well as underline, the physical forces. This simple response can be contrasted with other parts of the same building where a more conventional tectonic prevails. The resultant form is not so much an a-priori model as it is a result of an expression of forces that lift and carry the balcony above the ground, without an exaggerated defiance of gravity. In this sense, rationality acts as a check to the possible excesses of an empathic urge that could severe the relationship of form to its inner structure, and thereby undermine its organic nature. One could draw The Realization of the Beautiful 9 the parallel between such articulations and the expression of structural elements in Gothic architecture, the only difference being that aesthetic empathy acts here to express an individual will which does not lend itself to a translation into a collective system. Figure 5: Esche Haus, Chemnitz. Courtesy Henry van de Velde Archives, La Cambre, Bruxelles. Figure 6: Esche Haus- Detail of Back. Photograph Elie Haddad. F A B R I C A T I O N S Vol 13, No 1, June 2003 10 This interpretation of the line-force as an empathic expression of the individual will does not imply its necessary restriction to specific parts of the building; to the contrary this limitation here seems to be a result of the artists hesitation at this early phase of his architectural career, and the constraints of building technologies. Van de Velde did not therefore attempt to apply this action to the rest of the building; the balcony detail thus played the role of the dangerous supplement which threatened to overtake the otherwise static form, but remained under check. It recalls the similar effect of the Greek builders recourse to entasis, specifically as read by van de Velde in the case of the Greek temple, not as an optical correction but as an expression of the inherent dynamic of forces: Entasis, that is the swelling of the shaft of the column under the weight of the architraves and the masses that it has to carry; the recourse to the line as an expression of this swelling, irrefutably attest to the elasticity and the reality of the play and the law of weight and resistance. 20 The objective of the artist therefore, through these formal experiments, was to realize the elasticity and the reality of the play of forces acting within the inert masses. The means to simulate this play was through recourse to empathy, which is the projection of the same reality of play that animates a body in movement. Van de Veldes resistance to the simplifying discourse of Sachlichkeit, while proclaiming his own version of a rational conception of form, may be better understood in the light of his attempts which still affirmed the need to create an architecture of the present following the principles of great art throughout the ages. His quest for the origins of art coincided with his search for the eternal, but an eternal that does not withdraw from the world. In Nietzsches footsteps, his vision of the eternal was that of the forms which run throughout the course of history, from Paleolithic cave art to the Greek temple, to the Gothic cathedral and contemporary engineering works, all animated by the same spirit. This is evident in his later essay, Le Nouveau, where he clearly expressed his revulsion at the obsession with novelty in forms, in which he himself confesses to have been carried away at one point in time. 21 In this essay, van de Velde clarified the underlying thread that he perceived under the different manifestations of form, throughout the different epochs of human history, which, as his friend Harry Kessler recorded in his own memoirs, 22 van de Velde had simply discovered that there always existed only one sort of architecture underneath the different epochs, which beneath the wrapper of various successive styles had always had the same objective in mind: the realization of the beautiful. The Realization of the Beautiful 11 Notes 1 Friedrich Nietzsche, Thoughts Out of Season, New York: Liberal Arts Press, 1949, p 77. 2 This paper is based on my PhD dissertation on this topic. See Elie Haddad, Henry van de Velde on Rational Beauty, Empathy and Ornament, unpublished PhD Dissertation, University of Pennsylvania, 1998. 3 See the seminal essays by Henry van de Velde, Die Linie in Die Zukunft, Berlin, 6 September 1902, pp 385-388; and Prinzipelle Erklarung in Kunstgewerbliche Laienpredigten, Leipzig, 1902. 4 Walter Crane, The Bases of Design, London: Bell, 1898; and Walter Crane, Ideals in Art, New York: Garland, 1979. 5 In his memoirs, Henry van de Velde painted himself as one of those first converts to Nietzsches message. After entering the circle of friends that formed around the philosophers sister, Elisabeth Frster-Nietzsche, which included Harry Kessler and Eberhard von Bodenhausen; van de Velde had the possibility to consult firsthand some of Nietzsche's original works in the philosopher's archives, the interior of which he would be commissioned to redesign later. The first book that van de Velde mentioned in the order of his readings of Nietzsche was Zarathustra, which coincided with his formative period. Already in Brussels, most probably, he had acquired his own copy of the anthology of Nietzsche's writings translated into French. After his relocation to Weimar and the close friendship he was to develop with Elisabeth Frster-Nietzsche, he would have been consequently informed of the totality of the philosopher's works. He even claimed in his memoirs to have been instrumental in convincing the philosopher's sister to publish Ecce Homo, for which he eventually designed the cover. For a discussion of Nietzsches influence on van de Velde, see Haddad, Henry van de Velde on Rational Beauty, Empathy and Ornament, Chapter 2; and Henry van de Velde, Recit de ma Vie, Part I & II, Paris: Flammarion, 1992 and 1995. 6 Friedrich Nietzsche, Unfashionable Observations, Stanford: Stanford University Press, 1995, p 63. 7 The Greek Temple! -like a palpitating creation, rising before us, in Ruskins own confession, infallible, resplendant, clearly defined and master of itself! Henry van de Velde, Les Formules de la Beaut Architectonique Moderne, Bruxelles: Archives d'architecture Moderne, 1978, p 18. 8 Henry van de Velde, Le Nouveau, 1929, reprinted in Dblaiement d'art, Bruxelles: Archives d'architecture Moderne, 1979, p 93. [my translation] 9 Van de Velde, Le Nouveau, p 93. [my translation] 10 Aperus en vue d'une Synthse d'art, Bruxelles: Monnom,1895, p 21. 11 Henry van de Velde, Manuscript on Ornament, unpublished manuscript, translated and edited by Elie Haddad, and now published in On Henry Van de Velde's Manuscript on Ornament, Journal of Design History, 16, 2, (June 2003): 119-138. See also my own commentary on the Manuscript in the same issue on pages 139-166. F A B R I C A T I O N S Vol 13, No 1, June 2003 12 Van de Velde worked on the Manuscript text between January 1915 and December 1916. He effectively began to collect materials for this work at the beginning of the First World War in 1914, and then proceeded to write its main outlines, which remained in essence unchanged throughout the following years. It was revised continuously up until 1930, at the time of which its publication seemed imminent. One last revision to the final document was dated 1935. 12 The notion of the organic has a long history. Joseph Rykwert traced it to its origins in Greek culture. There, from its original meaning of tool or instrument, organic came to connote an association with animate life and nature in the nineteenth century. It crossed into architectural discourse to designate an architecture that, in the manner of Gothic, would spring up from the spirit of a people like a plant from the earth. This organic architecture would manifest itself as such through this kind of ornament, a lesson that was taken literally by the first artists of Art Nouveau, yet more subtly by their counterparts in America, namely Sullivan and Root. Rykwert also tells of an early association between empathy and organicity. For Johann Gottfried Herder, in the eighteenth century already, organic is the attribute of the collective unit of society, with understanding between different units of society made possible through Einfhlung, or empathy, which, according to Rykwert, is first coined by Herder and not Visher. See Joseph Rykwert, Organic and mechanical RES, (Autumn 1992): 11-18. 13 Van de Velde, Les Formules, p 65. [my translation] 14 Benedetto Croce, Aesthetic, As Science of Expression and General Linguistic, Boston: Nonpareil, 1978, p 285. 15 Van de Velde, Manuscript on Ornament. 16 Georges Gusdorf, Fondements du Savoir Romantique, IX, Paris: Payot, 1982. See Chapter XI. 17 The difficulties inherent to the problem of translating theory into practice is by no means restricted to van de Velde at the time. The work of Otto Wagner presented equal difficulties, as Werner Oechslin clarified in his expose that the metaphor of stylistic hull versus kernel borrowed from Btticher, gives a more nuanced reading of Wagner's work, which attempts to base itself properly within the discourse of aesthetics initiated by Btticher, Semper, Schmarsow and others. See Werner Oechslin's The Evolutionary Way to Modern Architecture: The Paradigm of Stilhlse und Kern in Harry Francis Mallgrave (ed), Otto Wagner: Reflections on the Raiment of Modernity, Santa Monica & Chicago: Getty Center for the History of Art and the Humanities & University of Chicago Press, pp 363-410. 18 For a discussion of this important project, see Gunther Stamms Monumental Architecture and Ideology: Henry van de Veldes and Harry Graf Kesslers Project for a Nietzsche Monument at Weimar, 1910-1914 in Gentse Bijdragen tot de Kunstgeschiednis, 1975, pp 303-342. 19 Van de Velde, Manuscript on Ornament. 20 In the manuscript titled L'tapes, Oct. 1953, FSX 145. Bibliothque Royale Albert I, Bruxelles. 21 Van de Velde, Le Nouveau, p 93. The Realization of the Beautiful 13 22 Harry Kessler. The Diaries of a Cosmopolitan, 1918-1937. London: Weidenfeld & Nicolson, 1971. F A B R I C A T I O N S Vol 13, No 1, June 2003 14