Course Proposal: Wholistic Architecture

Kurt von Meier, Ph.D.

Present an approach to architecture in terms of its intrinsic qualities, as they correspond to precise functions of the human psyche. Analysis of canonical ex­amples from the history of architecture parallels a fresh consideration of unorthodox designs and structures. Archi­tectural subjects may also be visionary, fantastic, theo­retical and literary. An attempt is made to transcend the straitjacket limitations of conventional lineal, ethnocentric biases, towards developing a new canon more clearly illus­trating essential qualities of architecture and design. Thus, examples are frequently drawn from the work of native and vernacular builders, the "architecture without architects."

Students enrolling in this course will be directed toward practical work in compiling visual and documentary material.

Sample items from the Bibliography:

Giedion, Eternal Present
Ichazo, The Human Process
Oldenburg, Notes in Hand
Rudofsky, Architecture Without Architects; The Prodigious Builders
von Meier, Visionary Architecture
Vostell, Fantastic Architecture

History and Theory of the Fine Arts - A Proposal

In 1962, Kurt von Meier joined the faculty at Elam School of Fine Arts at the University of Auckland, in New Zealand. Having just acquired his master’s degree at Princeton, the ambitious and talented young American professor found himself in a relative backwater of the art world, but with the opportunity to have an impact with his vision of teaching art history. By all accounts, he was popular, if controversial. As this course proposal demonstrates, he was ready to take New Zealand by storm with a rigorous and powerful teaching plan. His professorship ended in 1964, however, not long after he wrote an article in a local newspaper criticizing the design and planning for the new Elam School of Fine Arts building. He returned to Princeton for a year, acquired his PhD., and then went on to an assistant professorship at the University of California Los Angeles.

A Pyramid Project

Kurt loved to plan projects; even if a project did not come to fruition, the entire process of planning it fascinated him. One such project was a “Pyramid Project” involving the research and coordination of constructing a 45-foot wide pyramid on the campus of Sacramento State University. An interesting discussion between Kurt, university colleague Ken Switras and others involved in the project was recorded and transcribed during the planning process in 1979; a portion of that transcript is presented here. Kurt had already found the subject of pyramids of interest, and exploring his interest within an academic setting suited him just fine.

Exhibition Ideas

While an Assistant Professor of Art History at UCLA during the mid-sixties, Kurt von Meier also had responsibility for organizing and planning exhibitions at the university. This list of exhibition ideas was prepared by Kurt at that time, and in retrospect anticipated the shift of paradigm in the art world from “old masters” and “abstract expressionists” to more contemporary forms and materials. Notably, the gallery opening Kurt organized for an exhibit of sculptures by Harold Paris included a number of ideas on this list: four rock bands playing simultaneously accompanied by a “psychedelic” light show. Hyperlinks to later activities initiated by Kurt related to this list of ideas — planned events or articles in magazines for example — have been added.

ARCTEX Relational Database Project

The late 1970s were a particularly creative period for Kurt, both in terms of personal creativity and professional academics. In this project proposal, Kurt describes what we now refer to as a Wiki, a hyperlinked relational database. In this case, his plan to was construct a database focused on architecture, but also linked to various courses he planned to teach at Sacramento State University in upcoming semesters.
He writes, “The unique characteristic of the ARCTEX project is an emphasis upon generic architectural concepts as a way of mapping architecture to other models of whole systems...A central and recurrent idea in the history of art and architecture is that the work as a material manifestation may be read as a map or model of a whole system.” In addition, “A planned example to be worked in detail is based upon the symmetry set based on the number nine…”

Art 1B Midterm Examination and Survey - 1986

This midterm examination and accompanying student survey provide excellent examples of the thought and effort Kurt put into his teaching. The survey questions are particularly revealing, as they provide an insight into how Kurt aspired to teach and the ways in which he hoped to influence and inspire his undergraduate students. For example, “Do you feel the instructor sufficiently encouraged the class to take notes? Study slides? Do reading? Use the library and slide library facilities? Maintain awareness of contemporary media? Relate to outside activities and events (galleries, exhibitions)?” or “Have you read the Bill of Rights?”

To Members of the Academic Council

In 1995, efforts were made by the administration to eliminate the graduate program in Art History at Sacramento State University. At that point, Kurt had been teaching there for roughly twenty-five years, and mounted a defense of the graduate program’s value. In this “memorandum” Kurt writes, “With the addition of a new Ph.D. art historian to our faculty this Fall, it would seem to be exceedingly unwise and untimely to terminate graduate art history studies at CSUS, most especially since the achievements of these young scholars--together with the work of earlier, and of current, art history students--promise to reflect such a distinctive and positive light on both the department and the university.”

Sabbatical Leave Request - 1982

In this draft, Kurt requests Sabbatical leave in order to "continue and complete research in the area of Formal Art." Seeking to bring his interest in esoteric systems of knowledge and wisdom into western institutional education had been a pet project for many years; in this leave request, Kurt formalizes that project. "Much of the subject matter referred to in this outline has been introduced en classes at CSUS (Mandala, Art and Mythology, Art 3); the expansion and refinement of the curriculum are projected as obvious benefits." 

Preparatory Notes: Occidental Art and Mythology

As a teacher, Kurt was always preparing for his lectures, keeping notes and developing topics and themes for presentation.
          In this set of class preparation notes for Occidental Art and Mythology in 1979, we find Kurt pulling from his deep education in art and culture as well as from news articles in the San Francisco Chronicle. It's unlikely that these notes were for just one lecture, but it's possible. His madness was his method; he lays it out this way: "...the stage show, slides in class, acting-micro theater within theater, demonstrations within the theater as they belong to the algebra or application through variables while in the theater of teaching, where something is shown as in the Elusinian Epoptea."

Pages from the Notebooks of von Meier

Kurt's blue-lined notebook was never far from hand. Tucked into a manila folder, it sat by his spot on the couch ready for his pen whenever a thought or event stimulated Kurt's mind or heart (which happened frequently and easily). There are many dozens of these notebooks stretching over a 40-year period.

Here are two pages from 1990; not all of it is immediately understandable, given Kurt's personal "shorthand." But overall, these pages are revealing. 

Sabbatical Leave Request - 1998

A a fully-tenured professor at Sacramento State University, Kurt took advantage of the opportunity he was given after each seven years of teaching for a year off at reduced salary--a sabbatical. Being granted a sabbatical required submitting an application one year in advance, and this request was submitted in 1997 for the fall of 1998. His intention, as outlined in his request, was ambitious; "Historians are beset by vexing problems about any roles Alchemy may have played in prompting the goldsmith Johann Gutenberg's metallurgical innovation of casting moveable type. Yet, conventional art history is virtually silent about this, as about the nature of the ink used by early Western printers."

Zhikr Project

Sufism held an honored place in Kurt's heart; he could read and write some Persian, and spent years studying Sufi teachings and practices. In 1981, Kurt proposed a Zhikr Project, what is commonly called "Sufi Dancing." Contemplated as a five-evening program for 100 participants at Sac State, it was to be free of charge to the public. "The zhikr project is inspired in part by a felt need for this university to explore alternative means for the transmission of knowledge," Kurt writes. "Without sacrificing subtler insights, however, the zhikr affords a clear, objective example of effective teaching methodology." A greater understanding of Islamic and Middle Eastern culture was essential in the west, Kurt believed. Time has proven him to be correct.

C.I.R.C.A. - Center for Intermedia Research and Communication Analysis

During the late 1960s the world of Fine Arts (like much else at that time) was in a state of rapid change, in part fueled by the pervasive effects of advancing communication and imaging technology. Marshall McLuhan's ideas had a great impact on Kurt and his views about art, education, and society. In this letter intended for review by Jean de Menil, one member of the family of wealthy art patrons in Texas with whom Kurt had established a relationship (see Mixed Masters), Kurt proposes the creation of C.I.R.C.A., an Intermedia Center at the University of St. John in Houston, TX. Such centers were being established in various cities at the time.
          He writes, "The idea of an interdepartmental or interdisciplinary project provides one of the most direct and important opportunities for reintegrating education. Perhaps the brightest hopes lie in bringing together the revolutionary technology of the twentieth century with our study of the fine arts and liberal arts in the spirit of the great medieval tradition of humanistic scholarship....In a field such as art history it is fast becoming clear that truly sig­nificant research can be done now only by transcending the limiting conventions of academic departmentalization....The great promise of a center for interdisciplinary, or interdepartmental, studies lies precisely in these possibilities for a humanistic reintegration of education, which implies as its goal the enlightened individual human being, totally integrated in body, mind and spirit."

Dear President Gerth

During 1994, two students sent letters to the Chair of the Art Department, Dr. W, expressing concerns with Kurt's classes and style of teaching; the letters were added to Kurt's personnel file. When he learned of this, Kurt complained that the Chair and Dean's actions were inappropriate, and he appealed the matter to the University President, Donald Gerth. Kurt's letter (excerpted) is characteristically erudite and forceful, speaking not only to his teaching methods and the intent behind them, but also the unfortunate tendency of the then Art Department Chair to attempt to force Kurt to use teaching methods which in his opinion "seeks to impose its elitist, sexist, racist views by claiming for its authoritarian methods the only academic validity: indoctrination with names and dates of the canonical works of art as memorized by rote."

Gender Bias in the Discipline of Art History

As was so often the case, Kurt stepped forward to urge the University to assume a leading role in social and cultural transformation, in this case gender bias. He wrote a critique and set of recommendations about Sac State's art history program while Art Department Chair, a portion of which is excerpted here, and sent it to the President of the university. "Gender bias in the discipline of Art History is real, exists and persists on several different levels," he wrote, "and requires the thoughtful attention of peers, academic administrators and students as well as future textbook authors." In the light of issues surrounding gender bias today (2018) Kurt's observations were, as usual, progressive and timely.

A Sample of Kurt's Class Preparation

As these notes from 1986 amply demonstrate, even after 20-plus years of teaching Kurt continued to make careful preparation for his classes. Though he often made notes in his ever-present blue-lined paper notebooks, in the 1980s he also kept notes by computer.

This particular batch found in his archives--in preparation for his Creative Art and Mythology class 113-D--were printed on perforated, punched paper designed for use in a "daisy-wheel" printer. There's a good deal of solid art history contained within these pages.

Letter to CSU Chancellor W. Ann Reynolds

The only predictable thing about Kurt von Meier was his unpredictability. One can only imagine the thoughts of CSU Chancellor W. Ann Reynolds upon reading Kurt's report on his presentation at an Art Faculty Institute meeting at Kirkwood near Lake Tahoe in 1988; he proposed giving the esoteric wisdom traditions a home within the California university system and described the Mongolian Chua Ka massage technique.

Why Offer a Graduate Program in Art History?

In response to a request from the Art Department Chair, Kurt made his case in support for creating a graduate program in art history at Sacramento State University. In doing so, Kurt calls upon various studies and writings; "Contemporary educational overspecialization has led to a decline in the liberal arts requirements and programs in which Western humanistic values and ideals have traditionally resided. ...This has led to an educational value relativism and subjectivism in which one value is no better than any other--the pursuit of truth and wisdom is educationally of no more value than, for example, taking a real estate degree."

Art 110A - Final Exam - UCLA 1966

An unconventionally presented course appropriately ended with an unconventional final exam. Kurt von Meier believed real and valuable education meant a working relationship with the subject and material, not rote memorization of dates, names and places. His tests were not tests about facts, because for Kurt facts were easily gathered from books. He wanted his students to demonstrate the ability to think and feel. As he says at the bottom of the exam, education "cannot be justified unless it results in a bona fide aesthesic experience, helping to make one a more beautiful human being--that is to say, important only in so far as it involves art." An important lecture for this course can be read here.

Art 110A Lecture at UCLA - 1966

Some students, faculty members and administrators at UCLA were puzzled and dismayed by Kurt's teaching methods. His undergraduate art history lectures were wildly popular, and by 1966 upwards of 400 students were in attendance. He played rock and roll, brought in guest lecturers, and taught in a very unconventional style. In this lecture (drawn from word-for-word class notes) from December, 1966, he directly addressed criticisms he'd heard, and took pains to explain why he was teaching in the way he was: "This approach involves fundamental issues; it involves keeping open the live questions. This is very dangerous; it unsettles a lot of people; you keep the door open, you inevitably let the draft in...it gets very uneasy. You also inevitably let the light in, and that's another point."