Elena petrasheva the freedom of the non objective 2015 with cover by Cambridge Design Research Studio

Acknowledgement I am using this opportunity to express my special gratitude to Mr. Richard Kirkcaldy, outstanding teacher of English language, who performed the brilliant task of correcting this thesis. I am additionally appreciative to him for sharing his forthright and illuminating views on a number of linguistic issues related to the project.

The additional notes relevant to the narrative but not included in the main text are positioned in the left hand column.

form

From the design perspective, this work is an experiment of the author.

Two different abstract non-objective clusters of forms simultaneously influenced the design of the thesis.

The first cluster affected the exterior cover design of the thises, whilst the second was reflected in the pages layout. The impact of these abstract forms on the design of the thesis contains the authorâ&#x20AC;&#x2122;s logical sequence of the artistic transformations, which are hidden from the observer in reality. However, this paper includes the transformation process from initial abstraction through to the final design of the pages layout, in order to illustrate the influence of the abstract non-objective form in action and to facilitate the task of comprehension of the idea to the external viewer. Moreover, the additional notes relevant to the narrative but not included in the main text are positioned in the left side column. With the aid of that experiment, the author endeavours to elaborate in practice the theoretical theme of this essay: The idea that an abstract can be a successful basis for architectural design. non-objective form Except where stated otherwise, this dissertation is based entirely on the authorâ&#x20AC;&#x2122;s own work

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Elena Petrasheva

The Freedom of the non-objective

Pure and liberated

f o

and its architectural universe

(Based on Suprematism)

C o n t e n t

Abstract

Introduction: Abstract and non-objective art, Object, Form, Pure Form

1. “Pure Form” and the Phenomenon of Suprematism in art and architecture as a first attempt of form liberation.

Suprematism as a concept of an objectless world The shift to non-objective architecture The potential of “Pure form” conception

2. Theory and Experiments with non-objective form in architecture throughout the last century.

Avant-garde. UNOVIS School Deconstructivism. Zaha Hadid and Daniel Libeskind Nonlinear architecture. Peter Eisenman

3. Neuroscience as a support to endless horizon of non-objective form in architecture.

Pure Form concept as intellectual tool Neurological ambiguity and constants Abounding method of form creation

Conclusion: Pure and liberated form is an advantageous and enigmatic basis of architectural design

Bibliography Reference books Online resources Reference images

Wordcount 7765

A b s t r a c t

architectural

design

expansion This paper explores the potential expansion of current approaches to architectural design by applying certain principles from abstract art. It begins with the historical study of Suprematism, as a first attempt to reshape architecture with non-objective form concept. With further analysis of various attempts, theories and approaches to implementation of that type of a b s t r a c t i o n abstrato architectural design design, this essay will make a scientific study of the to architectural neurological side of the issue in order to be able to answer the question: Could Could an abstract non-objective form be a successful basis for architectural design?

I n t r o d u c t i o n

In the XXth century one of the most significant events in art history occurred – the appearance of abstract art. The revolutionary abstract approach in art transformed the rules of direct representation of reality in order to create a new reality, new visual language, and new artistic universe. According to Lind, Abstract art usually find its subject in reality but at the same time has a certain level of independence from references of the real world (2013). The Cambridge Thesaurus defines Abstract art as an art, which “describes a type of painting, drawing, or sculpture that uses shapes, lines, and colour in a way that does not try to represent the appearance of people or thing” (2014). According to Chilvers and Glaves-Smith, Abstract art is “deliberately non-representational. Implicit to abstract art is the notion that the work of art exists in its own right, and not necessarily as a mirror of reality” (2014). That revolutionary approach to the creation Abstract and non-objective art, Object, Form, Pure Form of artwork through abstraction reveals the extremely broad range of potential for nonrepresentational reflections of reality and even those beyond the artist’s reality. In addition, it is possible to apply the equally broad understanding “not concerned with the of the subject to Non-objective art. According to Chilvers and Glavesdepiction of the visual Smith, Non-objective art is, a general term applied to abstract art, which is “not concerned with the depiction of the visual world” and “intended to be world” completely non-representational, rather than derived” (2014). Consequently, the direct representation does not existofwhile the directof reality representation reality whi le the author exclusively persists with the unique connection between the real and nonobjective world. In such circumstances, objects lose not only their forms, shapes, colours and everything that connects them with conventional perception, but also their meanings as well. Object terminates its existence and the artwork becomes rather an extremely general idea than something more specific. In this particular case, form, colour and every other constituent of non-objective artwork achieves a certain

Abstract art

Non-objective art

does

not

exist

Object is “perceived thing that is substantial, spatially coherent, and persist over time” Mitchell, 1990, 8.

fig.3 Kurt Schwitters. Das Undbild. 1919

Non-objective art fig.6 Piet Mondrian. Composition number 10. 1939–42

fig.4 Jackson Pollock. Number One. 1948

in gen e term out th 0, 25. 9 ing ab speak itchell, 19 M ively, ternat d colors” n t”. Al objec s of lines a of an cture ombination c al stru physic lations and e ternal is “in Form is “r

Abstract art

Form

fig.2 Hilma af Klint. The ten biggest, N2. 1907

fig.1 Wassily Kandinsky. Cossacks. 1910–1

level of purification and separation from usual convention. Form, as one of the most significant elements of abstract artwork, may reveal its essence and complexity through non-objective purification. In addition, at that stage the concept of Pure Form appears, representing the deep or, in some occasions, fundamental basis for any form creation. Seen in this light, the Pure Form is neither geometrical n o r biological, but abstract and non-objective. Pure Form i i s not the universal form but unreferenced to an object, free from meaning, unlimited in interpretation and capable of any shape o r structure or any level of complexity or simplicity. The author of Pure Form can make it impersonal or individual, as a particular product o f personal perception. Thereby, it is an entirely different concept from “universal form” or, according to Porter, “pure forms, whose Greekderived names - cube, cone, pyramid, cylinder, etc. - we still use and which came to lay the foundation for Euclid’s geometry” (Porter, 2004, 113).

fig.5 Kazimir Malevich. Dynamic Suprematism. 1915-16

eral,

The Pure Form concept is of interest to Architectural discipline as apractical, theoretical and philosophical question but also as a neurological issue, which is highly significant for understanding the theme of perception in architecture. The combination of those notions and implementation of the non-objective art approach to the field of architectural design underscore the kernel of discovery for the greatest potential for expanding architectural discipline and opening new and interesting horizons of research and practice for professionals. The possibilities of design can expand significantly further still, when an abstract non-objective forms the conceptual idea of an architectural project.

not the universal form but unreferenced to an object, free from meaning, unlimited in interpretation and capable of any shape or structure or any level of complexity or simplicity. The author of Pure Form can make it impersonal or individual, as a particular product of personal perception.

C h a p t e r 1

“concept of an objectless world”

fig.7 Kazimir Malevich. Suprematism. Eight red rectangles. 1915-16

17 This year it will be a century since Kazimir Malevich created Suprematism. The year 1915 was an eventful one when during the Russian Revolution a rich store of Russia’s unique art styles and concepts were crystalised in a short time Suprematism as a concept of frame. The First World War was also a time of painful change, when amid the an objectless world anarchy and civil war in Russia, artists and architects passionately reviled their own revolutionary ideas with unprecedented speed. As Kovtun noted, “Those decades, which in France were spent on art update [counting from the emergence of Impressionism], compacted in Russia only in 10-15 years” (1989, 107). The contemporary public knows Kazimir Malevich as one of the most significant Russian avant-garde painters, artists and theorists whose influence is both obvious and simultaneously ambiguous. The artistic, philosophical and, in a way, tectonic movement a way, tectonic movement “Pure Form” and the Phenomenon of Suprematism in art and architecture as a first attempt of form liberation. created by Malevich and called Suprematism (from Latin “suprêmus” - highest, upper), intensively used principles of non-objective art and tried to implement it in different spheres of research (Khan-Magomedov, 2007). Particularly unique and important was the deep interest of Suprematism to architecture. As Crone and Moss admit, at the same time, in the 1910’s, artists in many countries were already practicing non-objective art. Tatlin and Kandinsky, Mondrian and De Stilje, Delone, Macdonald-Wright and Rassel were just a few notable examples (1991). However, only in Russia did the particular social, political and ideological circumstances exist to provoke artists to rid themselves from any historical precedents or decorative supplements and to start, in many senses, from the ground up, in order to build a brand new society, new world and new art too. Suprematism has become exactly that kind of art movement. It is possible to define Suprematism as an avant-garde art and architectural movement in 1910-30’s Russia based on the abstract representation of mostly geometric, flat, coloured forms on a white background [as a space without any orientation] that often produces non-symmetrical compositions which emphasise, according to Demosfenova, the (1990, 18). In addition, Malevich clearly states, “In referring to non-objectivity, I wish to make it clear that

“In referring to non-objectivity, I wish to make it clear that Suprematism is not concerned with things, objects, and so forth.” (Crone, Moos, 1991, 120) “It

new

In other words, produced art loses its ordinary meanings while composition, form, colour, shade completely ceases to be either perceived as objects or referred to objects. realism ” “It Malevich stated Malevich stated (Khan-Magomedov, 2007, 80; Osborne, 1979, is a new realism”, 135). Realism that has nothing in common with reality or its interpretation but suggests more how alternative reality could be revealed or even created by human. picts That radical shift in art encouraged a move away from the casual way of perceiving the world around human beings, and consequently, towards a substitution and adaptation to the universal, cosmic mystery of producing something from nothing. No more mirroring or idealizing nature or references to existing, no more function, no more connection with known reality. Independent non-objective art reveals its world to humans and through humans. Non-objective art proclaims to be the essence of existence, an upper reality, supremely significant like every revolutionary and valuable notion does in the human thirst for knowledge. The new vigorous reality of Suprematism supersedes even the existence of nature and therefore belongs to a universal system rather than to yet another interpretation of the natural world. It is a symbol of denial of the previous world in order to elicit and force a Paradigm shift to the future. In so doing, Suprematism made History by proclaiming the only possible way to achieve “the NEW” was by killing “the PAST”. Ironically, “the NEW” appears instantaneously, but the global historical process always underlies the moment of culmination.

Historically, in the early stages (1915-1918), Malevich proclaimed the dominance of colour and its energy and freedom of colour from utilitarian function on painting as the gist of Suprematism (1920). Nevertheless, during the 1920’s, FORM starts to play the main role in the process of suprematic creation. “Form as energetic as energetic combination has lost its colors and become Black andand white predominate it... This the case only for Suprematism combination hastonal. lost its colors become tonal. Black and iswhite predominate it... on the canvas, whereas in real, tangibleThis action, thiscase plays nofor roleSuprematism because theon revelation of form is left to thetangible light” (Malevich, is the only the canvas, whereas in real, action, 1920, (Malevich, 1920, 2, 3). this plays no role because the revelation of form is left to the light” (Malevich, 1920, fig.8 Kazimir Malevich. Suprematism N58. 1916

The shift to non-objective architecture

Black and white colours become instruments. Pure Form, its liberation from any possible function or context, over a relatively short period, became the skeleton of suprematic ideology and experimentation. The State Tretyakov Gallery (2014) commenting on Malevich’s symbolic work “Black square”, 1915, stated, “Not the aesthetic or emotional perception of reality is essential for Malevich, but the value of the idea itself.” This iconic abstract non-objective artwork has a variety of interpretations; nevertheless, it remains the bold manifesto of human daring for the radical new broad way of perceiving the world and the very means of expressing the world. It was certainly an attempt to find universality and upper objectivity, a global style and mirror of the epoch, but at the same time, it is an abyss of the undiscovered for each human who gazes upon it. This is the abyss where extant knowledge vanishes and sacrifices itself in the attempt to find a principally new approach of creation of form.

Despite huge inconsistency with the political and social aspects of the new state, as Gurianova notes, Kazimir Malevich saw Suprematism as a global style from the beginning (2012), which emerges from particular art into the world arena of multiple implementation, into all spheres of life. In contrast to Piet Mondrian, whose abstract non-objective art, forms and colours, inspired many Modern architects, and who was convinced, according to Moszynska, that architects are hopeless materialists (1990), Malevich believed that, for Suprematism, architecture alone was the gateway to the universe of human life. He stated that: “There is no longer a question of painting in Suprematism. Painting has long been overcome and the painter himself is a prejudice of the past.” “Having established certain plans for the Suprematist system, I am entrusting the future development of what is now architectural Suprematism to young architects in the broadest sense of the world, because I see it as the only possible system in an era of new architecture.... Long live the united system of world architecture of the Earth!”

(Malevich, 1920, 4) fig.9 Kazimir Malevich. Black square. 1915

fig.10 Kazimir Malevich.

Architectonic volume. 1924

It was the first and unique attempt in history when the idea of Pure Form, its method of creation from the total abstract thinking process, was extracted directly from non-objective art and there was an attempt to apply it to the field of architecture. The School of Malevich, UNOVIS, created Suprematic architectural compositions with the same level of non-objective abstraction as in the case of Suprematic paintings. The intention remained the same – to liberate form from its usual conventions to achieve “the NEW”. Only this time, based on the ideas of Suprematism, the Pure Form concept would find its application in the three-dimensional world of architecture, with its regular and direct influence on human life.

Here, it is necessary to observe, that according to Moussavi, all ideas or concepts of a form’s origin can be divided into fig.11 Kazimir Malevich. Photo Manipulation. 1925 three underlying assumptions: cultural unitarity, fundamental cause provoked by objective / subjective or concern of perception as a response to ideal meaning (2009). Conception of non-objective Pure Form may have any of these as a for its appearance , because when human create it then they leave all possible traces of the previous cultural, fundamental or perceptive experience there. Because all forms of information, which constantly surround the individual, attack him/her with its infinite and permanent flow. The constant absorption of data induces humans to elaborate complex filters of perception, analysis and feedback output in order to complete the task and make it more efficient from a resources perspective. Unfortunately, that natural and effective mechanism inevitably results in the limitation of a creativity horizon, narrows down objective vision and eventually enchains and frames the thought process. Life experience invariably dominates the future evolution of human ideas and architectural design in particular. Therefore, architects require an additional means of purification from the limiting patterns of thinking and creating.

basis

To this end, the Pure Form concept proposes a solution – from the very beginning, the author includes in the design development the non-objective form that lost its cognitive meaning completely in order to adopt new gist later. At the first stage, the method can include understanding the general idea or intentions of the design in order to produce relevant abstract form. By applying Pure Form, one or a cluster of non-objective forms in drawing(s) or model(s), as a device or elastic basis for a design concept, humans can consciously liberate themselves from known pa and provoke an abstract interpretation to help decide how to answer certain design issues. That subjective and spontaneous approach puts the general idea at the forefront of the playful process of abstract drawing creation and provides an ability to suggest requirements to the design solution. Furthermore, it frees the solution from any constraint, which skills, professional knowledge, historical patterns, materials or technology impose on it. After analysis of architectural Suprematism Feuerstein concludes,

“Suprematism liberates us from the terror of objects and images” (2008, 195). This statement reveals the provocative architectural design method where

It is highly possible that Suprematism was in need of a non-objective world to emphasise clearly the new pure geometry and new global style dictated by those Euclidean geometric forms. That style based on simple geometry and a simple colour palette was set to rival the Classical order. And so it was to prove. In the XXth century those forms, which are clearly recognisable in Modernism, have come to replace the indestructible classic with its rules and laws, admits Khan-Magomedov (2009). Malevich, then, was simply one of those who first felt the rhythm and shape

the creation process rejects fundamental components of architecture, like object and image (here means an image of an object), its usual references. And by and large, could the entire discipline exist without those crucial elements? Ma lev ich that wa ss ure i t it must. must it must

The potential of “Pure form” concept

patterns

of the turbulent century to come. That point of view is supported by one of the most important drawings, which suggests the potential power of the Pure Form idea that lead to the highlighting of Suprematism as an alternative aesthetic to the classical style in architecture. Malevich and his adherents promoted that point of view and in 1927, according to Khan-Magomedov, during the preparation of the exhibition in Germany, one of Malevich’s closest students from UNOVIS, Nikolay Suetin, compares the basic forms of two different stylistic systems in a simple sketch: the Classical order and Suprematism (2009).

g, 1926

cal drawin

alyti fig.12 An

Geometrical simplicity and a certain level of fundamentalism of those forms reflect the appearance of the global architectural style, which filtered down and dominated the turbulent XXth century. The phenomenon of form purification created by non-objective abstract art had a fundamental influence on Modernism. “And what more absolute apostle of modernist abstraction could one evoke than admits Foster (2011, 75). This attitude to Suprematism may suggest the tremendous effect which suprematic non-objective form had at global level, that threshold of alternative aesthetics, which Malevich courageously promoted at the beginning of XX century. Despite this being the Modern style, which Peter Eisenman called “stripped down classical architecture” (1996, 123), arguing that Modernism just removed outward trappings, but did not change its system of relation (1996), it radically reshaped the existence of humankind. Nevertheless, either consciously or otherwise, the suprematic liberation of form and abstract manipulation with r non-objective space and figures facilitated the emergence of a potentially i research field for architectural discipline. Those theoretical and c experimental fundamentals, which Kazimir Malevich used to expand non- h objective art into architecture, create another big issue.

Malevich?”

Can architecture afford itself the same high level of imagination and creation freedom, which an abstract, non-objective art enjoys? Architecture has always been constrained by the scope of “decorum”. Architecture has always been constrained by the scope of “decorum”. As the foundations for creating designs, an architect requires the broadest palette of conditions and conventions. For example, Moussavi

states “Form follows function! There has never been a more seductive dictum in the history of architecture” (2009, 7).

Orders, sections, historical clichés, functions, environment and traditions, political and social issues... often contradictive and rarely simple focus. It is possible that those approaches to design were organic and true to their times. However, when a genuine revolution occurred as it did in Russia a century ago - a rare and rich seam of creativity in a vacuum of dominant ideas and ideologies - then the time of non-objective abstraction has come. Pure Form appeared to symbolise a bright and evanescent era of changes and the tempting illusion of liberation from all possible chains. However, the idea of non-objective abstraction, which is replacing traditional reference-cliché, remains a temptation for theory and experimentation in architecture in particular.

reliance on origins and ends,

C h a p t e r

This chapter attempts to find examples of architecture and theoretical analysis throughout the last century that to a certain extent, or hypothetically, include Pure Form concept at any stage of design development. In addition, this chapter also endeavours to explain individual approaches of the authors of those works to the implementation of non-objective form into their design methods and philosophical reflection. That research will help to reveal the practical side of the question and illustrate the potential viability of the idea. From a theoretical point of view in architecture, Peter Eisenman in his significant article “The End of the Classical: The End of the Beginning, the End of the End” brought to the surface the epistemological question of Architecture’s fake origins. He concluded that over the last 500 years architecture has suffered from multiple illusions “due to continued Theory and Experiments with non-objective form in architecture throughout the last century. reliance on origins and ends, and on strategically oriented process of composition.” In a situation where deductive reason and function limits the possibilities of architecture, he proposes to substitute “a perpetual process for object, graft for origin, and motivation for strategy” (Eisenman, “ i n 1996, 211). He presumes that this context architectural Theoretically, the nonform is revealed as a “place of objective design process in invention” rather than as a subservient architecture possesses the power representation of another architecture t o implement that. Because the or as a strictly practical device. To invent method involves the non-objective an architecture is to allow architecture abstract form, which has an to be a cause; in order to be a cause; it extremely open process of must arise from something outside a creation from the beginning, while directed strategy of composition” rationalising and functionalising, (Eisenman, 1996, 222). if so required, at the end. By using such a simple order and combination, architecture may attempt to shift its “origins” to the side of alternative nature and leave a “directed strategy of composition” behind, as something superfluous. Architecture may then substitute it with a freshly emerged

non-objective form, which arises from the freedom of occasion based on abstract thinking and in a frame of particular design program and individual worldview. Further historical examples serve the purpose of illustrating this.

tabs ract

abstract architectural compositions.

compositions

One of the first experimental attempts to introduce the idea of the nont objective form has been carried out under the guidance of Malevich. In the 1920â&#x20AC;&#x2122;s, the h UNOVIS School, led by Malevich, attempted to turn the dream into reality by making l r a n Suprematic non-objective forms derived from paintings to appear in o i e ns e e im in the form of d - s p a c e ARCHITECTURAL

Suprematic architectural According to Khan-Magomedov, even in suprematic Architectones and Planitas (volumetric and planar compositions), Malevich categorically refused to make any windows or doors, to avoid being bound by the chains of any An interesting remark could be made here, utility or to place any observer in chains. In 1929 at one of his exhibitions, Malevich that according to Jacques Derrida, the term Architecton is dated back to Aristotle as a explained to the bewildered public that Suprematist Architecton is just a composition term of "urbanistic metaphor in philosophy and of geometric shapes â&#x20AC;&#x153;this thing is for anything.â&#x20AC;? (Khan-Magomedov, 2009, 384). In defined as an art of systems" (Derrida, 1996, 144). In choosing suprematic terminology, Malevich so doing, he insisted on the concept of non-objective Pure Form in architecture as constantly referred to historical or philosophical universal and effective, particularly suitable for making global decisions in design, fundamentalism to support a globalism and universality of Suprematic ideology. architectural or industrial. Even so, there was deep interest in the new geometry promoted by Malevich, but not in abstraction as a basis or tool for design.

fig.13-15 Kazimir Malevich. Architectones. 1923-6

Avant-garde. UNOVIS School

fig.16-19 Lazar Khidekel. Floating city. 1924-6 fig.20-22 Lazar Khidekel. City on pillars. 1923-8 fig.23, 24 Ivan Leonidov. The film studio. 1927

Floating city

Some of the UNOVIS School students developed their own nonobjective suprematic compositions to the levels of an architectural project. Examples from the design stages of Lazar Khidekel and Ivan Leonidov clearly illustrate the successful transformation process, which starts from abstract Pure Forms in suprematic compositions and evolve to complicated striking architecture. Some of Lazar Khidekel’s projects, such as Aero City, City on pillars, Floating city, Flying city are very advanced in design even in our time despite the fact that

t h ey w ere creat ed 9 0 years ag o .

City

These projects demonstrate how progressive an architect can be in his/her process of design development, how he/she can stay ahead of the time period, if he/she butbut from from begins not with existing objects and their forms or final requirements and rationalism, Pure Form concept but from Pure , as Khidekel did. These projects are only now beginning to find real recognition, but the author who starts from abstraction, rather than existing objects, forms and requirements is able to look beyond the horizon of his historical period and experience and create a truly new vision of architecture. Khidekel had the opportunity to partly implement some of the ideas in his projects: Nevdubstroy (1931-1933), Kondapogi, sanatorium in the Crimea (1931), “Moscow” cinema. Ivan Leonidov is another bright example of the non-objective approach in architecture in 1920’ss Russia. His main project “The film studio in Moscow in Lenin’s Hills” is an illustration of a creative design solely based on abstract non-objective forms without any particular utilitarian goal. In addition, together with a group of architects he put forward the idea that architecture should determine “the sequence of operations and program for technology” (Kovtun, 1989, 106) and not vice versa, and the nonobjective form was the basis for the development of the idea. Two different approaches to architectural design were born about the same

pillars

fig.25 De Stijl. 3s Jaargang 12 forward to the Netherlands, it would be hard to miss just how the idea of Pure form influences the

decisions

the

Dutch

group

Stijl.

should be noted that this influence had a lot in common with the influence of Pure Form ideas on Constructivism. Similar to the Dutch group De Stijl, Russian Constructivism assumed that the starting point for design should primarily have a rational accent. But as in the design of Lissitzky, so in De Stijl's design we can clearly see the dominance of abstract Pure form over the initial rational requirements on a final decision. Perhaps if rationalism were rejected at the initial phase of design, as Malevich would do, and would be used only for the adaptation phase, they could get even more radical and advanced solutions, which would impress its originality further still.

From

the

outset,

Minimalism

likely

contained

some element of non-objective form. However, top

minimalists

Sol

LeWitt,

Robert

During the same time period, if we took a trip

time in the same country and the peak of their ideas also took place roughly the same time, namely Suprematism and Constructivism. Despite the fact that the basis of these two schools were two significantly opposite ideas and views on what architecture should be, constructivists had a serious interest in Suprematism due to its non-objective approach to design and liberation of form. Feelings about the limitations of their approaches in architecture, based on pure rationalism, especially in its creation phase, were behind the interest. _4_ A prominent example among the constructivists who shared the idea of Pure Form was El Lissitzky. He was an architect, who employed an equivalent of the Pure Form idea for his design basis but with his own vision and created so-called Prouns (projects of approved “new”) – abstract non-objective clusters of forms. They are detached from the earth, rush to the sky or are in a state Prounsfor the Earth’s architecture. They demonstrate that new of balance that is impossible architecture should reflect the new reality. In contrast to the static classical buildings, this architecture soars and balanc Unfortunately, those experiments of Russian Avant-Garde movements with non-objective form in architecture and art were forgotten and even banned for at least 30 years, until the 1960’s. Only until the second part of the XX century, did some of those experiments begin to be accessible for western art and architecture. According to Strickland, they formed a significant part of the foundation for such recognisable styles as Minimalism _5_ and Deconstructivism.

radi ca

Morris,

Frank Stella and Donald Judd, who in the 1960s embraced

the

philosophy

abstract

art

and

renounced the object philosophy totally, placing moderation

the

forefront

the

design

basis instead, suggests Strickland (1993), while form only follows it. In addition, symmetry and repetition dominate the works of the last two and, according to Bachelor, "its symbolize a dispelling the

implicit

anthropomorphism

European

abstract non-objective artworks of Malevich or Mondrian" (Bachelor, 1997, 17). Still, by using the aesthetics

industrial

materials

those

artists

created highly laconic geometric art that formed a distinguished style of Minimalism. The experiments of Ellsworth Kelly with suprematic non-objective form led him to a rejection an eventual dead-

a n Deconstructivism.

37 fig.26,27 El Lissitzky. Proun and the room. 1923

the

abstract non-objective clusters of forms. They are detached from the earth, rush to the sky or are in a state of balance that is impossible for the Earth’s architecture. They demonstrate that new architecture should reflect the new reality. In contrast to the static classical buildings, this architecture soars

Malevich was right in pointing towards architecture as a unique opportunity for Pure Form to exist after

its

death

art.

Nevertheless,

for

the

time being minimalist architects follow the same path as minimalist artists, by working more with moderation, object and material than with form pict and do not declare any persistence of nonobjective

abstract

form

their

design

basis.

However, the work of Richard Serra

and Robert Morris

fig.28 Richard Serra .2-2-1: To Dickie and Tina

(1969, 1994)

fig.29 Robert Morris. Tree L Beams 1965 are

able

make

abstraction

and

hypothetical

existence

at is

its an

core. intuitive

The

impression

therefore of

cause

nature

may Pure

for

extreme

suggest

Form

that

Pure

concept

assumption

Form

concept,

which reveals itself without the author's special attention to the idea. In addition, the fact that Minimalism is so interested in non-objective art means it could subconsciously inherit the same way of form creation. By leaving that suggestion as a potential research field, it is worth paying special attention to the generation of architects in Deconstructivism.

Deconstructivists are highly interested in Russian Avant-Garde nonobjective experiments, moreover, they eventually may have a much broader field for their own experimentation because their style is not restricted in moderation as per the situation of Minimalism and consequently, the architects are much freer in their formal searches. Zaha Hadid is one contemporary architect, who is famous for her interest in the category of abstraction mainly depicted from Russian Avant-Garde architecture of the 1920s, and particularly from Malevich’s suprematic works. According to Hall, by exploring his work in the 1980’s, Hadid was able to “develop an abstract language for her architectural practice” and “render the standard conventions of architectural

Deconstructivism. Zaha Hadid and Daniel Libeskind

imaging (plan, elevation, perspective, and axonometric projection) more dynamic than they usually appear… to intensify and liberate her structures” (Foster, 2011, 73,75). Later in retrospective, Hadid wrote, “Studying Malevich allowed me to develop abstraction as an investigative principle…

I felt we must reinvestigate the aborted and untested experiments… not to resurrect Another bright architect of that group is Bernard

them but to unveil new fields of building… ” (Hadid, 1998, 24).

Certainly, the non-objective form made a significant impact on Hadid’s on philosophy of design, but she explored the issue of Pure Form concept as a particular on approach to work with abstraction. Through her own way of exploration in architectural on on design, she discovered the non-objective form as a research method, which is a highly inventive and unbounded principle for the creation of a space. On that basis she e nta t i on technic” m g ra f d an n invented her own approach to design through tio ac “abstr ra g (Open Journal of Architectural Design, 2013) that not always but may use nonm e objective forms to start the design process as exemplified by the Vitra Fire station in Germany (1994). In this instance, Hadid used Pure Forms generated by the influence me of the existing area, which guided her through the whole project to the final design implementation - with clearly recognisable similarities in shapes and dynamism to the initial non-objective abstract drawing. Among a number of other different design technics, which Zadid uses in her works, “abstraction and fragmentation” proves to be viable and productive. Her non-objective composition has an abstract interpretation of perceived information that related to the particular program and site, thus the starting point for the pure forms on the drawing is already connected to the general view on the project. Nevertheless, that is not the complete way to apply the Pure Form idea in architecture. One alternative , unrelated technique is to employ to the particular theme or task but serves rather as an a general cluster of nonabstract worldview, part of the architectural philosophy objective forms that influences design.

Thchumi, who has a relatively considerable level of abstraction in his architecture, but he never could escape the object: the environment, the site reference or the fireworks, like in his "Park de la Villette" project, as a starting point, which dictated the program and the design line of his work. Nevertheless, during his "Park de la Villette"

design process Thchumi employed non-objective forms

achieve

superposition

organisation

principles of the park (Thchumi, 1998). He did it with certain types of non-objective forms, but these appeared to serve more schematic purposes than of

conceptual

liberation

remarkable

principles.

helped and

Even

produce

interesting

so,

this

type

unprecedented,

designs

for

further

research. Thchumi clearly outlines his way of dealing with

the

restrictions

that

clients

requirements

and the project places on design: "Instead of starting with an analysis of the project specific requirements - for example, the required floor space - I'm looking for an idea in the literature or cinema. I prefer to ask questions that may change habitual foundations. The phrase "form follows function" - rather offers to look what could be more important that functions" (Thchumi, 1998, 142).

fig.30 Zaha Hadid. Collision of the geometries. The Form fig.31 Zaha Hadid. Vitra Fire Station. Weil am Rheine. Germany. 1994

This unique and significant way of describing the enigmatic world of nonobjective abstract forms is developed by another representative of Deconstructivism; architect, theorist and musician Daniel Libeskind. His strategy of design finds its inspiration in the Pure Form scenario, which was supported by his own theoretical Describing his vision of “purification” attempt of a form in architecture, he states,

"From a certain point of view, everything is formalism... And because the "geometry of experience" is only a horizon of potential formalization "From a certain point of view, everything is formalism... And because theand we find it already inserted into that other horizon of desire and intuition "geometry of experience" is only a horizon of potential formalization and we find it- the task of essential clarification, as I see it, becomes the systematic already inserted into that other horizon of desire and intuition - the task of essentialand dynamic transmutation of movements; an exchange between abstract clarification, as I see it, becomes the systematic and dynamic transmutation ofciphers exhausted in their own objectivity and hardened in fixed signs; movements; an exchange between abstract ciphers exhausted in their own objectivityand concrete contingencies responsive to the permanent solicitations of a and hardened in fixed signs; and concrete contingencies responsive to the permanentspontaneous appeal. solicitations of a spontaneous appeal. Authentic abstraction gives us what is the most unique in Authentic abstraction gives us what is the most unique inincomplete but formalized levels of grasping objects... and leads to ever incomplete but formalized levels of grasping objects... and leads to evermore encompassing possibilities of configuration" (Libeskind, 2001, 86, 87). more ENCOMPASSING possibilities of configuration" (Libeskind, 2001, 86, 87).

As an architect, he emphasises the significance of non-objective abstraction and proposes to explore the relationship between drawing and the process of construction through his non-objective philosophical drawings ion t a u q ’s E called MICROMEGAS: Little Universe and doror l a M d an Maldoror’s Equation (and in series named verse i n U Little Chamberworks he explores the relationship between architecture and music). These drawings should not be read as a database of forms or compositions

From a philosophical perspective the question of non-objective Pure Form appears in the work of Jacque is

Derrida,

not

where

concerned

with

states,

the

"Architecture

representation

something already existing" (Derrida, 1996, 142) and names Architecture as a "non-representative" discipline sculpture,

contrast

which

can

painting,

imitate

drawing

something

and that

already exists (Derrida, 1996). Consequently, to continue that thinking, if non-objective art and, particularly, Pure Form concept does not represent things which already exist, then it must be the closest and the most natural approach suitable for architecture.

but rather as a provocative way to SEEK A RESPONSE from a deeper level of consciences and evoke the inner life of non-objective forms, normally hidden from casual view, which can, unpredictably for the author itself, unmask their power

thinking.

Analysing the possibility of non-objective form as a potential "architectural reference", a particular issue emerges, which Moneo called "fish turned into discotheque" (Moneo, 2004, 262). The unavoidable existence of the abstract non-objective form as a form, separated from any real context, may illustrate an arbitrary choice or personal whim, rather than any reason. Thus, the theory itself may become a total abstraction where everything is possible. However, such a suggestion should not strike fear into the heart of architecture, but liberate it, as in the case of the Vitra Design Museum

Weil-am-Rhein,

Germany.

Built

1987-89 by Frank O. Gehry, the project reveals some abstract play with Pure Forms in the middle of an ordinary and neutral environment, which did

not

limit

the

architectural

design

process.

Moneo finds certain parallels in that project with Avant-Garde

sculpture,

and

particularly

with

Naum

Gabo

(Moneo,

2004).

Those

parallels

can be seen because a singular principle is in charge: Replace the object with a purified form and its free manipulation to achieve a more free architectural

design

that

discards

formal mechanisms.

any

fig.33 Daniel Libeskind. Micromegas. Maldoror’s Equation Fragment

pioneer of abstract and non-objective sculpture, of

fig.32 Daniel Libeskind. Micromegas. Little Universe

of potential application in architectural construction. They appear as answers to design issues, not randomly, but as something that should be read as an answer, because it allowed itself to be drawn in a particular way. Here, by by dint of its removal from the usual laws of rationality, Pure Forms attract attention and disclose for the world of real construction its elements or combinations of the elements that were invisible before. The influential of Micromegas drawings can be found in a number of Lubeskind’s architectural projects. For example Jewi in the sh M , Berlin, 1988-99, a project that the useu m architect called “Between the lines” the non-objective forms of

casual

the abstract drawings appeared in the similitude of fractal parts that formed certain unique ALPHABET of non-objective forms, which were intensively used during the design process. In addition, the character of intensifications and relaxations of the forms’ clusters that are especially easy to , picture also depicts the impact of his non-objective drawings. In summary, the approach of Daniel Libeskind to his Micromegas, the similarity in attitude to and application of Pure Forms by the school of Suprematism is appreciable. While Libeskind employed his personal aesthetics and level of complexity in abstract drawings, the general role of non-objective form remains identical – to serve as the basis for real architectural design by being produced in a very abstract manner. And that principle can survive in the bright era of high technology too.

notice from the top plan

fig.34 Daniel Libeskind. “Between the lines”. Alphabet

fig.35 Daniel Libeskind. “Between the lines”. Top plan

By the end of the XX century architecture survived another dramatic change to the transformation of the rules of representation, equal to the changes seen by the phenomenon of abstraction. The cause for the dramatic turn is the massive computerisation of the discipline with all the enormous possibilities that computer power brings to design modeling.

Nonlinear architecture. Peter Eisenman

In particular, architecture stumbled across a huge body of possibilities in the arena of form creation.

ations

Architects gained an enormously powerful tool in the solution of complex design issues and delivery of projects. So high-powered is this tool that it is able to create the architectural form to an extremely high level of complexity, which was impossible to achieve for humans alone. To realise architecture in computer software an architect can manipulate form, as a theoretical concept, according to Jencks, which includes an attempt to comprehend form not as an object or thing, but as a certain topological structure of non-objective form. That served as the cause of emerging of Non-linear architecture based on mathematical theory (1997), where form is dependent on the new principle of creation. The object as a source of architectural form is replaced by a mathematical formula, resulting in the disappearance of the concept of the object entirely. The final form depends on the free transformation process applied to the initial non-objective tp r ohc e s es form or, according to Jencks, omorphingf (1997). This is actually very similar to the Pure Form concept where the initial abstraction goes through a series of transformations transformations in order to employ its certain part or idea in the final design. s n form a tr Consequently, the Pure Form concept appears at a new level in new circumstances. Now an architect can employ computer software to obtain access to a , in which conditions are very similar to that of the rld al wo u t r i v Suprematic. Its universal space, equal more to cosmic able m r o f s n ra space than any on Earth, is able to contain any form or space and t c i m a without any reference to ordinary reality. Every element, form, shape and y dyn l e m e r t x space is capable of being non-objective and can serve as a starting point for further and e e v i t c e j free manipulations in order to achieve a certain appropriate architectural design. The on-ob

difference with non-objective suprematic form here is the speed of transformation and simplicity of the morphing process, which in contrast to a physical drawing or model, has an unprecedented level of dynamism and possibilities of manipulations capable of being generated in software form. Here, as in the Pure Form concept, the freedom of chance within a defined program discloses itself when the architect starts the design process from various abstract non-objective forms and manipulates them. A specific architectural example that illustrates that thinking is the

Aronoff Centre of Design and Art in Cincinnatati University by Peter Eisenman, which was designed by using a non-linear mathematical process of computer software. As Hartoonian states, Eisenman’s design approach to the Aronoff Centre project is The architect used non-objective rectangles as the basis for random and very complex process of morphing to create exiting architecture of arbitrary shifted forms and spaces. He depicted two different shapes of lines, wave and zig-zag, which emphasise the abstract gist of the landscape and the existing building, and formed approximate ages for chaotic positions of non-objective After random manipulations with these elements, all forms merged into a complex spatial structure where the features of the conjugated structures are indistinguishable. The interior of the building continues to illustrate a very liberated method of the design process together with the dynamic aesthetic of manipulation with non-objective forms. As Jencks noted,

forms of rectangles.

“These cut-up fragments keep one tense and alert, though the forms make no semantic demand, have no figural message, are completely abstract” fig.36-40 Aronoff Centre of Design and Art in Cincinnatati University. Peter Eisenman

(1997, 172).

In this example of architecture, the computer modelling and play with

“dematerialization and further intensification of the aesthetic of abstraction” (2006, 51)

In this example of architecture, the computer modelling and play with abstract forms is inseparable from the achievement of the design approach and exists as unconstrained continuation of architectural creation. â&#x20AC;&#x153;Inevitably, such a complexity of different formal strategies could only be worked out on a computer, andâ&#x20AC;Ś If the system is ever repeated it will have to be reinventedâ&#x20AC;? sums up Jencks (1997, 172). Assuredly, as with any other tool, a computer can be used in very different way and not always in the right way. It is nevertheless impossible to imagine a future where architecture exists without some strong digital or other scientific element. In the first decade of the XXI century, it became increasingly difficult for architecture to conceal its issues from the rapid development of scientific research in various fields. Of particular interest in the exploration of the theme of this paper is the latest research

in neuroscience.

C h a p t e r 3

â&#x20AC;&#x153;People can inhabit anything. And they can be miserable in anything and ecstatic in anything. More and more I think that architecture has nothing to do with it. Of course, that is both liberating and alarmingâ&#x20AC;?. Rem Koolhaas (1996, 1)

Pure Form concept as intellectual tool

This statement of Rem Koolhaas poses a series of

questions: If people can inhabit any space why should an architect continue to limit his/her imagination in order to suit peopleâ&#x20AC;&#x2122;s necessities, which do not exist in reality? And why should an architect continue to restrict himself/herself from temptation to break down the formal rules of design process that exist in the discipline for years, decades, Neuroscience as a support to endless horizon of non-objective form in architecture. centuries, throughout history? Maybe it is worth experimenting and stopping clinging to the past or future, functions or references and at least try to liberate the Form as it is?

B y its nature, the notion of abstraction is strongly related to the meaning of total liberty. Nevertheless, any abstraction produced by human being is a freedom, which is controlled in some way. In comparison with normal creative activity, the non-objective abstraction has a light level of subjective control. Nevertheless, the conventional prejudices that humans naturally carry throughout life, is more subtly reflected in abstraction as well. The individual cannot discard his/her personality and achieve a universality of thought, but he/she is able to employ tools to enrich and expand that process The Pure Form concept is exactly that of intellectual tool. sort It helps to cleanse the mind from a habitual way of thinking by pushing the architect into a certain of expression where he/she is able to pick up random or associative forms without vacuum any prejudiced selections or various meanings of the forms. When the individual is not disturbed by

multiple utilitarian issues concerned with the design concept creation, the possibility of achieving a leftfield design solution is much higher. Of course, if the liberated form [Pure Form] and its non-objective nature provokes a situation, when all functions appear at the stage after the primary design process, than the fundamental question arises – How is the Pure Form actually created in the first place? What are those fundamental principles that motivated the emergence of particular abstraction in a particular situation? Here, science could provide some answers. Today neurobiological research gives us firm knowledge of the myriad processes taking place in a human brain and many questions passionately discussed and theorized for centuries have been answered in neuroscientific laboratories. Scientific research gives the broadest field for discussion about the neuro mechanisms engaged in the question of how non-objective form is given birth.

According to Mallgrave, the human brain constantly “canvases t h e world, rapidly constructs and organizes its images… and expends little (2011, 149). This or no cognitive energy on easily categorized or familiar events” process can more likely be described as routine, boring work, which at first sight does not deserve any special attention. Subsequently, the whole database of recorded information emerges on its return – whilst describing or creating something. This is not the case with art, which according to Zeki, is “an extension of the major functions of the visual brain” (Neuron, NeuroView Journal, 2014). And it’s true of non-objective abstract art and form in particular, which proposes something s ’ to the observer that doesn’t exist in brain and e h t n i y the real world and certainly egor t a c a s a At that stage sted i x e r the human brain has no option but to explore new, unfamiliar information neve s ’ t a h t in detail and, in parallel, to keep trying to categorise it by breaking it down by thin. g e m o s terns elements. That process repeats itself in the case of non-objective form creation and has pat

unknown

unseen

Neurological ambiguity and constants

57 consequences, whereby irregular information initiates x p the a of neuron nets and radically broad patterns of perception a n d n interpretation, leading to the possibility of enriching d e s i g n t creativity. i Semir Zeki, Professor of Neuroaesthetics who studies the “relationship between brain activity and aesthetic o appreciation and artistic creativity” (2014), argues that on a neurological level, the human brain organises its perceptions “through a series of “microconsciousnesses” within the brain, n scattered in location and formed over time”, which deliberately fragment, for example, visual information. The brain then “abstracts “abstracts the essentials of each visual event by searching for constants” constants” from an extant experiential bank and fills in the remainder of visual perception by making , and ultimately, applying the level of ambiguity, which is “inherent in the perceptual and interpretative process” (Mallgrave, 2011, 148). Another monumental study of neurological brain activity during the perception and interpretation processes by neurobiologist Gunter Stent reinforces this idea. Herbert observes the studies of Gunter Stent, who describes abstraction as a selective liquidation of information, which is one of the fundamental principles of the perceptual system operation. Stent arrived at the conclusion that “the mind does not have direct access to an objective reality through the senses, and the information must be lost through abstraction at any level of any mental activity, from the simplest act of perception to the creation of the broadest conceptual structures” (Herbert, 1993, 49). In addition, the fact alone that colors do not exist in nature and are only an invention of the human brain to ease the task of coping with information (Zeki, 2014) demonstrates the level of possibilities, which the brain uses to deal with reality. Consequently, during the perceptual process the information replaced by ambiguity appears , while only conceptual abstractions, the constants, exist as working material for the human brain during the perception or creation the constants, processes.

“the best guess”

Sussman and Hollander state, "Perceptual system is

product

"natural

selection"

(Sussman

and Hollander 2014, 11). Consequently, it is an evolutionarily advanced system.

to be lost

Incredibly and somehow almost inevitably, the non-objective abstraction proves to be â&#x20AC;&#x153;the bitâ&#x20AC;? or unit of information within the magnificent machine that is the human brain, which has been developed through millions years of evolution!

more sophisticated design decisions.

rt,

tiv

jec

-ob

all

eci

esp

In addition, a recent discovery by Professor Zoe Kourtri at the University of Cambridge shows that adults - in comparison to young adults - have a higher natural tendency to respond with abstract information to a sensory input. As Koutri found out, very different centres of the brain react during the perception test. Young adults used the anterior part of brain, which is in charge of perceptual decisions, while older adults used the posterior brain centre, which corresponds to the selection of targets from irrelevant clutter (Research horizons Journal, 2014). This suggests that despite all their inherited experience of patterns of thinking, older adults are able to be creative in an alternative, more abstract manner. That includes the probability that in contrast to the commonly used perceptive database, the abstract constant chosen among irrelevant accumulation centres may turn out to be much more successful at the level of creativity, mainly due its apparent incongruity. That hypothesis may explain the fact that artistic genius, is not something genetic that appears at an early age, but rather comes with the natural process of training the brain and the gaining of experience, increasing the likelihood of more sophisticated design decisions.

All of these studies suggest that our brain is not able to operate with perceived information, images in particular, as with holistic composition. In contrast, it breaks it down into enduring features and extracts the abstract essentials, the constants, which exceptionally are the units for further

Abounding method of form creation

handling. All other extraneous information is lost and substituted with “best guess” patterns, the constants therefore constitute the skeleton of perceived and interpreted information; it is thus a matrix for any creation. Moreover, this appeared to be the matrix of worldview constructed as the basis for all previous experiences recorded as the abstract constants and not as real world objects. In the Pure Form concept, the architect proposes to employ the equal method to start the design process. Similarly, the non-objective form represents a type of matrix for further evolving into a design project, which is a complex system that uses multiple patterns of specific additional information like functionality, referencing and utilitarian needs. The task of form creation is simply founded on man’s best attempts to learn from his own brain. Instead of working with an object (with all meanings, associations, functions that object introduces) the architect is faced with es of the relationships between them – the essenc and s form t trac abs ive ject -ob non erstanding of its compound nature - the

a far deeper und surrounding world.

the unique opportunity of creating their own world instead of copying something that already exists.

If the

architect binds himself to manipulations with the object and to the requirements of its future function(s), than the freedom to compose design by using the database of abstract constants is automatically restricted. When he/she discards such notions and requirements, the possibilities of achieving a higher degree of freedom to assemble the constants in the way that has a much broader potential field for more sophisticated product creation are greater, because more dissociative, irregular, even irrelevant variations of form are then able to be applied. This evolution from referencing an object and its requirements to the pure non-objective abstract form lends a human, and an architect in particular, In such instances, the adult implements his/her experience far from restraining patterns of work but in a new light of accumulated non-objective knowledge of forms with extremely open possibilities of application. Thus, the non-

However, the most important achievement here is that Malevich push artist and architect

incredibly

hard to broaden their minds on a radical scale, to the edge of their endurance. At the same time

the

artists

attempting

theorise

what

objective form can help to achieve new, unexplored levels of design aesthetics, more liberated and playful. Regarding this connection, Mallgrave states, the “biological necessity to enrich or enhance brain’s neutral efficiency... elevates the discussion about design above the level of a simple aesthetic discourse” (2011, 150). Consequently, there exists the possibility to disclose those tectonic levels, which lie beneath the aesthetical component of the method of creation of Pure Form. Commonly among artistic thinking, the idea that non-objective form emerges from feelings often represents a reflection of aesthetical views. The feeling could be down to momentum but would still be an individual feeling grounded in the global issue of perception. Helfenstein and Frehner quoted Malevich’s determination of his Black Square as “the first way of expressing non-objective perception: the square = perception, the white field = the nothingness outside this perception” (Helfenstein, Frehner, 2008, 30). In the texts of Malevich, there were constant attempts to comprehend and explain not only to the public, but to himself as well, the way of suprematic art creation and the gist of the theory, which should underline the method. Meanwhile, the practical contribution of Malevich and Suprematism to art and architecture is undoubted. Neuroscientist Semir Zeki considered the art works of Kazimir Malevich to be neuroaesthetical and the

they are doing most of the time are extremely subjective, they adapt vocabulary in unusual ways and mix meanings, making their written works less meaningful then their art works.

artist himself – “neurologist for his intuitive exploration of how the brain works… The painter intuitively tailored his artistic intentions to the single-cell neurology of the visual brain” (1999, 202). Thereby suprematic, non-objective abstract form was probing and enriching the brainwork process of perception and interpretation simultaneously.

“We can only perceive space when we break free from the earth, when thepoint of support disappears”

fill to tom uumcuuthiell vaec vlla to f tom thell th fim uuamcuuthiell tfiovaceuuvthaecfivll tomf to th ll m uu tfiovaceuuvac th

ex p

ect ed

(Bedell, 2013). In that statement, the words “the point of support” is equal to notions of reference and the desire to Conclusion. Pure and liberated form is an advantageous and enigmatic basis of architectural design “break free from the earth” suggesting a strong intention to forgo the world of objects in order to achieve the circumstances where design thinking gains utmost freedom in its creativity. From this point on a human loses his/ her usual ability of control over the design process, and it begins to be possible for the Pure Form concept to create itself using either artist or architect as a tool. This occurs because habitual frames and references are suddenly discarded, and there suddenly appears . a vacuum, which can be filled with the most um u c va e pieces, generating an l th l i f to fill thetovacuum. Here the very simple f.ittlool to m u u m c fill the vacuum. to fill the m a u v u u c e o a t h t v m l l e u u i h f caccuutoufillmtheto vacuum. to necessity of the human brain will show its own potential - the need, or even instinct, o to filfliltl tfillhvacuum. tm vvaavvacuum. to fill the vacuum. ttoo filltothtfillheetheethe cuum avacuum. v e tfhilel tvhaecvvuaauccuuuum to fill the vacuum. m l l h i f t o t e m l the vacuum. to fill the vacuum.toto fill the vacuum. At a certain point, it might appear that it is possible to find nonto fill l ffiillll tthhe vacuu i f fill the vacuum. to fill the vacuum. to fill vacuum. to fill the vacuum. to fillobjective the form everywhere, but the more humans investigate the world, the more non. tothevacuum. m to fill the vacuum. to fill the u u vacuum. to fill the vacuum. to fillobjective abstract forms are revealed, because it is one of the most fundamental parts c the vacuum. to fill the vacuum. va e to fill the vacuum. to h t of information for an exploration of the world by the human brain. fill the ill f to After an historical overview over the last 100 years touching on different m. u u c styles, countries and approaches to non-objective form it is possible to conclude va e h t that Pure Form concept has huge potential to be a successful base for architectural fill

to fil to tvvoacfuilullmtheto vafciullumthe va acuu the fill to cuu vtoacfuiullmmthetovvaafcilul umtthheto vffaiiclluuthmme cuum et vacllu the o fill tum he

C o n c l u s i o n

65 The whole Idea of Pure Form concept echoes in Jacques Derrida words, “There may be an undiscovered way of“There thinking belonging to the architectural may be an undiscovered way of thinking belonging to the architectural moment, to desire, to creation. …It could only be conveyed by thetodimensions moment, to desire, creation. of …Itthecould only be conveyed by the dimensions High, the Supreme, the Sublime, which is not higher but in sense morethe ancient than which is not higher but in a sense more of the High, thea Supreme, Sublime, space” (Derrida, 1996, 144). ancient than space” (Derrida, 1996, 144). Indeed, it was conveyed when Suprematism opened a new door for architectural discipline by applying, initially from art, non-objective form to its discourse. Than Kazimir Malevich stated,

unprecedented mosaic of non-objective forms and related ideas.

All

these

examples

transformation

illustrate

the

non-objective

successful

abstract

form

into architectural design, implemented in the real world or left on paper, to the designs that by later stages of the projects development obtained full complexity and utilitarian functions. The research over historical precedents illustrates design attempts on various bases, but Pure Form is always present as a Constant there. Moreover, the possibility, where Pure Form, as an absolute, find its place in a vacuum of references, provides liberation

the

imagination

architect

and gives free rein to unexplored and unrealized potential in architectural design.

Will it be an architecture of thinking or

67 design. Architects-suprematists used non-objective forms to create abstract suprematic compositions, which served as a foundation for the ideas and formal decisions of their architectural projects. Deconstructivists manipulated Pure Form and employed it as an abstract interpretation of perceived information that related to the particular program and site or as part of the broad architectural philosophy, while computerised architecture uses it as a dynamic design tool. As a result, it has proved its viability and potential in architecture. Simultaneously, in studied examples of architectural design the geometrical simplicity and the tendency to use basic Euclidian geometry of non-objective forms in the initial abstract drawings has an identical value and purpose of use as the essential and authentic abstract component, “the bit” of formal information, which the human brain operates with in order to construct the picture of reality. The inclination to use simple Euclidian geometry could be explained by social and cultural habits in architecture during the entire history of discipline and by convenience of these forms’ interpretation as a potential space for the architect and for the public. Nevertheless, that tendency does not negate the theory and the possibility of achieve comparatively successful architectural design in the case of adapting different non-objective forms, for example, those that could be taken from the non-objective painting “Number One” of Jackson Pollock. Such experiments could produce enigmatic architecture, but there is a question:

madness?

B i b l i o g r a p h y

Bloemink, Barbara J, Cunningham, Joseph, Design [is not equal to] art: functional objects from Donald Judd to Rachel Whiteread, London: Merrell, 2004. Itten, Johannes, Design and Form. The basic course at the Bauhaus, London: Thames and Hudson, 1967. Hartoonian, Gevork, Crisis of the object, London and New York: Routledge, 2006. Holt, Steven, Skov, Mara Holt, Blobjects & beyond: the new fluidity in design, San Francisco.: Chronicle Books, 2005. Moszynska, Anna, Abstract art, London: Thames and Hudson, 1990. Nesbitt, Kate, Theorizing a new agenda for Architecture. An anthology of architectural theory 1965-1995, New York: Princeton Architectural Press, 1996. Smith, Virginia Grace St. George, Forms in modernism: a visual set: the unity of typography, architecture & the design arts, New York: Watson-Guptill, 2005. Tschumi, Bernard, Cinegramme folie: le Park de la Villette, Sevenoaks: Butterworth Architecture, 1987. Zeki, Semir, A Vision of the Brain, Oxford: Blackwell Scientific Publications, 1993.

Bachelor, David, Minimalism, London: Tate Gallery Publishing, 1997.

R e f e r e n c e b o o k s

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