If Krauss is Leia, Le Corbusier is a pretty great candidate for General Tarkin.Le Corbusier sought to achieve simplicity and a purity, combining classical antiquity and modernity with the ‘fundimentals’ of new science. He said he wanted to celebrate what he called the ‘white world’: precise materials, clearity of vision, space, and air, as against the ‘brown world’ of cluttered closed muddled design and thinking.
Leia is dressed in white and is part of the technological world - black white and gray... She has a spaceship, but she would have been a stranger if she had gone to Tatooine, the natural world, tan, brown, and green. She would be like Artoo. I really like the idea when Luke, Ben, the Wookiee, Threepio, and Artoo are all together, everyone except Artoo blends into the real world, Tatooine; it works very well. But when you go to the Death Star it works just the opposite. Artoo fits in with everything [on the Death Star] because everything is black and white, and he is primarily white. We made the stormtroopers white, too (also to mix things up, so not all the bad guys were dressed in dark colors). Even Threepio is out of place in the Death Star, more then Artoo. That was a creative descion to make Threepio part of the people, earth side, which was an esoteric idea, but I liked it. The only thing that we varied a little bit was the Han Solo costume: He's dressed in browns and has a spaceship, because he is an eclectic. He takes from everything.
The term marked sites is used to identify work like Smithson's Spiral Jetty (1970) and Heizer's Double Negative (1969)... But in addition to actual physical manipulations of sites, this term also refers to other forms of marking. These might operate through the application of impermanent marks - Heizer's Depressions, Oppenheim's Time Lines, or De Maria's Mile Long Drawing, for example - or through the use of photography. Smithson’s Mirror Displacements in the Yucatan were probably the first widely known instances of this... Christo's Running Fence might be said to be an impermanent, photographic, and political instance of marking a site.
The first artists to explore the possibilities of architecture plus not-architecture were Robert Irwin, Sol LeWitt, Bruce Nauman, Richard Serra, and Christo. In every case of these axiomatic structures, there is some kind of intervention into the real space of architecture, sometimes through partial reconstruction, sometimes through drawing, or as in the recent works of Morris, through the use of mirrors. As was true of the category of the marked site, photography can be used for this purpose; I am thinking here of the video corridors by Nauman. But whatever the medium employed, the possibility explored in this category is a process of mapping the axiomatic features of the architectural experience abstract conditions of openness and closure-onto the reality of a given space.
But whatever term one uses, the evidence is already in. By 1970, with the Partially Buried Woodshed at Kent State University, in Ohio, Robert Smithson had begun to occupy the complex axis, which for ease of reference I am calling site construction. In 1971 with the observatory he built in wood and sod in Holland, Robert Morris had joined him. Since that time, many other artists-Robert Irwin, Alice Aycock, John Mason, Michael Heizer, Mary Miss, Charles Simonds-have operated within this new set of possibilities.
He was one of those Marxist critics who likes to think he’s really involved with the people, making great gestures and so forth, but they’re hardly in the world at all. Anyway he was talking about pot-making and weaving and everything. And my feeling was that was not all historical art but not folk art. As far as I am concerned, a folk art is when you take a utilitarian object, something you use everyday, and you give it overlays of your own personality, what it is you feel and so forth. You enhance it with your life. And folk art in the current period of time would more appropriately be in the area of something like a motorcycle. I mean, a motorcycle can be a lot more than just a machine that runs along; it can be a whole description of a personality and aesthetic.
The Skywalker homestead is both washing machine and Bennington jar. It has the substance of whitewash on adobe but is as obvious as a Skyhopper.I’m interested in the inscrutability and mysteriousness of the thing. Something obvious on the face of it (like a washing machine or a pump), is of no further interest. A Bennington earthenware jar for instance, has subtle color, largeness of form, a general suggestion of sustance, generosity, is calm and reassuring - qualities that take it beyond utility…
Robert Smithson, Partially Buried Woodshed (1970), George Lucas, Partially Buried Homestead (1977)
The purest examples that come to mind from the early 1960s are both by Robert Morris. One is the work exhibited in 1964 in the Green Gallery-quasi architectural integers whose status as sculpture reduces almost completely to the simple determination that it is what is in the room that is not really the room; the other is the outdoor exhibition of the mirrored boxes-forms which are distinct from the setting only because, though visually continuous with grass and trees, they are not in fact part of the landscape.
The flying hamburger was my favorite design... I wanted something really off the wall, since it was the key ship in the movie; I wanted something with a lot more personality. I thought of the design on the airplane, flying back from London: a hamburger. I didn't want it to be a flying saucer, but I wanted to have something with a radial shape that would be completely different from anything else.
That science fiction, by treating future possibilities as actualities, may function as an even more literal fictitious capital… the 'promise' of new technologies or scientific breakthroughs is used to mobilize resources – of labor, capital, research grants, political credibility, public acceptance – in the real world.
I was working very hard to keep everything nonsymmetrical. Nothing looks like it belongs with anything else. You walk into a set and there's lots of different influences, not just one influence. It's a very common thing in science fiction to see a set that has one influence. Everything matches. The chairs match the table, match the rug, match the design of the doors, match the door handle, match the lamps. I wanted it to look like one thing came from one part of the galaxy and another from another part of the galaxy.