The Field House was created as an antidote to the modern condition.
The ancients believed a thriving human being came about through education, or, community, in the broadest sense: the arts, sciences and physical activity. Many derivatives of this formula have been made throughout history, though its truest expansion came via the maturation of aesthetics. Artists, architects, composers, film directors, authors, polymaths, philosophers and more concluded that authentic harmony - the placement of the individual into “history itself” - could be achieved through the unification of the finite and infinite. Many expressions of this unification have been made, but few have been tangibly lived in.
The Field House can be thought of as a lightly-framed event, one in which viewer becomes participant in a newer social construct: industry-agnostic, unimpeded and diverse. Its beauty is not only present in design; we see it in the art of conversation, the grace of a dancer, the backhand of a squash player. Movement sets the soul free, the free soul vibrates in conversation. Wonders big and small radiate truths beyond our dreamiest imaginations, and nudge us toward a truer, fuller self-identification.
What was it that John Berger said? “For an instant, the energy of one’s perception becomes inseparable from the energy of the creation.”
William Walter, Founder