A TRANSPARENT PARADISE

Paul Scheerbart in 1914 wrote, “We live for the most part within enclosed spaces. These form the environment from which our culture grows. Our culture is in a sense a product of our architecture. If we wish to raise our culture to a higher level, we are forced for better or for worse to transform our architecture. And this will be possible only if we remove the enclosed quality from the spaces within which we live. This can be done only through the introduction of glass architecture that lets the sunlight and the light of the moon and stars into our rooms…through the greatest possible number of walls that are made entirely of glass.” (from Glass Architecture)

So if it is true that the culture of a society springs from it’s architecture, as Scheerbart states, then it must follow that the culture of a society then springs from the architectural sketch. In his advocacy of a glass architecture, there is a corolary with transparent drawing. Does it take a transparent drawing to make a transparent, glass, building?

In his manifesto, Scheerbart goes on to say in ringing tones that if only brick architecture were prohibited, then the wonders of an all glass and transparent architecture “…would be as though the Earth clad itself in jewellery of brilliants and enamel. Then we should have a paradise on Earth and would not need to gaze longingly at the paradise in the sky.” .

Might we also say that if only opaque design drawings were prohibited, then there would be heaven on earth?  How about if we also eliminate all opaque building materials like plywood and clapboard siding as well?  What would it be like if our window trim material was translucent?

Ergo, transparent drawings create cultural transparency.  It would all be a transparent paradise.