FREDERICK J. KIESLER: DESIGN-CORRELATION as an approach to architectural planning demonstrated time and time again, as for example twenty years ago in the plans for “The Endless”, to unify in one isionary magic of the theatre, the cinema and sports, and structurally continuous building the visionary magi fe elnocen Currently, in the galleries of Peggy Gusgenheim’s “Art of this Century”, T utilized it again to break down the physical and mental barriers which separate people from the art they live with, working toward a unity of vision and fact as prevailed in primitive times, when seemingly con. Mlicting experiences existed in complete harmony, when the God and the representation of the God, the demon and the image of the demon were equally immediate and real, thus following the Processes of natural growth, developing the flow of inherent forces which produce forms while integrating and disintegrating at varying speeds, a continual rebirth of all organic and inorganic life and of the plastic arts, technology and architecture, factors which man has gradually learned to detect and measure, the radiation field of the human heart, the energy of a cosmic ray, the electrical emission of solar radiation, eaptured in the experimental Wilson chamber, whereby. radiant particle leaves a path of heat condensation are thus made to reveal, to the cosmie blind ness of the human eye, nature's own design of force, the ultimate significance of the usknown, that cternal matter which builds the poet's, the architect’s or the plastic artist’s structure on the or- of energy which simultaneously correlate and design. f, Bath of an clctrc eminson of cosmic radiation piercing @ one-inch len Seca ot we clect wi-plate. Photo: Dr. Carl Anderson, California, hal Re Bea “GaSe i aude eta stg. ee Ea ing 76FREDERICK J. KIESLER: DESIGN-CORRELATION as an approach to architectural planning demonstrated time and time again, as for example twenty years ago in the plans for “The Endless”, to unify in one structurally continuous building the visionary magic of the theatre, the cinema and sports, and currently, in the galleries of Peggy Guggenheim’s “Art of this Century”, I utilized it again to break down the physical and mental barriers which separate people from the art they live with, working toward a unity of vision and fact as prevailed in primitive times, when seemingly con- flicting experiences existed in complete harmony, when the God and the representation of the God, the demon and the image of the demon were equally immediate and real, thus following the Processes of natural growth, developing the flow of inherent forces which produce forms while integrating and disintegrating at varying speeds, a continual rebirth of all organic and inorganic life and of the plastic arts, technology and architecture, factors which man has gradually learned to detect and measure, the radiation field of the human heart, the energy of a cosmic ray, the electrical emission of solar radiation, captured in the experimental Wilson chamber, whereby a radiant particle leaves a path of heat condensation are thus made to reveal, to the cosmic ness of the human eye, nature’s own design of force, the ultimate significance of the unknown, tl eternal matter which builds the poet’s, the architect’s or the plastic artist’s structure on the or- bits of energy which simultaneously correlate and design. feattate of resicclog ae glacoa. radiation Suverimpnsed lestronmaguene Jetta fe ‘eperated by, be heart i fe Belen tho beat, Photo: Starling, iiuman Py Srbiial design. Brom "On Correale 76 soloay, 5” 4. lial of ongite tom of ay lan Yor "he laa ‘ahd Biotechaigue", Record" 1933," *