New Age by Jay Shah

Suprematism and Conceptual Space - Making Author | Jay R. Shah UI1514

Guide | Dr. Seema Khanwalkar

Declaration

Declaration This work contains no material which has been accepted for the award of any other Degree or Diploma in any University or other

institutions and to the best of my knowledge does not contain any material previously published or written by another person except where due reference has been made in the text.

I consent to this copy of thesis, when in the library of CEPT Library, being available on loan and photocopying.

Student Name & Code No: Jay R. Shah

Date: 26th April 2019

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iii

Approval

FACULTY OF DESIGN Student Name & Code : Jay R. Shah UI1514 Thesis Title : New Age : Suprematism and Conceptual Space - Making APPROVAL The following study is hereby approved as a credible work on the approved subject carried out and presented in the manner, sufficiently satisfactory to warrant its acceptance as a pre-requisite to the degree of Bachelor of Interior Design for which it has been submitted. It is to be understood that by this approval, the undersigned does not endorse or approve the statements made, opinions expressed or conclusion drawn therein, but approves the study only for the purpose for which it has been submitted and satisfies him/her to the requirements laid down in the academic programme.

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Acknowledgements

Acknowledgements (Whatâ&#x20AC;&#x2122;s in a name?) I am grateful to the oxygen that I breathe, the nature that helped

me grow, and the understanding of howmuchever miniscule

about the Universe I got exposed to, therefore reducing my knowledge gap. I am grateful to the development in Linguistics,

which helps me to write this document today, in real time of the Earth and communicate with whosoever the reader is.

I am grateful to all the philospohers, artists, architects and humans who were the pioneers of what my document talks about.

I am grateful to my family (close ones), friends (loved and distant),

strangers (known and unknown), and other beings for all actions

done and undone, in all tenses of time. My mentor and an excellent

human being, who helped me in the genesis of this document,

it would not have been possible to formulate this dissertation without your inputs at all times, in all spaces.

I am grateful to all things, tools and utilities that helped me put my ideas and imaginations to tangibility. I am grateful to the

ingenious musical compositions, that helped maintain the silence. The applications of this two dimensional research are vast in the

third dimension. Written in a normal state of mind, (as defined by

the dictionary), Lat. : 23.0427923, Lon. : 72.5500481, Ele. 54m (GPS), in real - time (00:00:01).

INDEX PROPOSAL INTRODUCTION

01 | A Beginning

04 10

1.1 CUBISM

14 16 18 20 22

1.2 FUTURISM

24 26 28 30 32 32

1.1.1 Introduction 1.1.2 Analytical and Synthetic Cubism 1.1.3 Picasso, Leger, Tatlin 1.1.4 Effects

1.2.1 Introduction 1.2.2 Dynamism 1.2.3 Machine 1.2.4 Flight 1.2.5 Effects

02 | A Process 2.1 KAZIMIR MALEVICH

32 34 36 42 44

2.2 EL LISSITZKY

46 48 50 52 56

2.3 LEBBEUS WOODS

58 60 62 66 66

2.1.1 Introduction 2.1.2 Ideology 2.1.3 Works 2.1.4 Effects

2.2.1 Introduction 2.2.2 Ideology 2.2.3 Works 2.2.4 Effects

2.3.1 Introduction 2.3.2 Ideology 2.3.3 Works 2.3.4 Effects

2.4 ANALYSIS 2.4.1 A-01 2.4.2 A-02 2.4.3 A-03

03 | A Realization 3.1 BUILT

3.1.1 Follies at Parc de la Vilette 3.1.2 Holocaust Memorial 3.1.3 The Band of Peace 3.1.4 Megaliths

04 | A New Age 4.1 CONCLUSION 4.1.1 A New Process

05 | A Conclusion 5.1 MEANING

5.1.1 “ma” - The third condition

BIBLIOGRAPHY APPENDIX

68 80 90

104 106 114 120 126

128 130

138 140

142 155

PROPOSAL

[

]

AIM

To envisage a new space - making concept, by understanding Constructivist

Suprematist

ideology

and

the

ways

unconventional conceptual space making, in order to achieve a purity of space. OBJECTIVES

This study will help in creating a bridge between the architectural and artistic aspects of avant - garde nature. •

To study cubism and futurism as art movements, and how it translated into Suprematism, introducing a new and a definite system of thought. By decoding the principles that it followed, and

analyzing how the avant - garde thought can be further applied in spaces. •

To analyze the experimental, conceptual, and unconventional method of architecture and art as practiced by Lebbeus Woods.

Studying the need for radical reconstruction through his tactics of new practice. •

To decode, how the spaces can be used functionally, by not

assigning a single function to it but by providing temporary timely functions. Example : Installations, pavilions, art and expression, exhibitions, etc.. METHODOLOGY

The research will be conducted via primary and secondary

case studies, secondary research collected form books, articles,

Proposal

research papers, and various websites. Documentation of spaces will be done via primary and secondary imagery. Creating diagrams, sketches and drawings wherever a design approach will have to be demonstrated. Analyzing critiques that have

opposed or hindered the research, as to why and how. Studying

the time-line of works in order to form comparisons and make conclusions.

•

Understanding the principles of suprematism through secondary

research via books and articles based on the same. Referring to the drawings made by Kazimir Malevich and El Lissitzky as art

constructions. This secondary research will help shape the base for the framework for further research. •

Analyzing the drawings, sketches and models in the form of

imagery via books and websites by Lebbeus Woods to understand

the quality of the spaces and his methods of reconstruction over the existing built structures. •

Developing new drawings/ diagrams taking references from

the styles of Suprematism and Lebbeus Woods. Thus, offering a progressive and a design direction to the research.

•

Studying different functions as secondary case studies and via

books and websites. Example: Installations, pavilions, art and expression, exhibitions, etc.. Studying various types and methods of the same.

•

Performing surveys of how the people perceive such spaces and

as a public space, what they think should be done in such spaces. Thus, enabling a pathway between the designer and user. SIGNIFICANCE of STUDY

This research shall open new prospects of spatial creation through

the radical, unconventional and experimentative works of Kazimir Malevich through his Suprematist ideas represented in the form of drawings. And of Lebbeus Woods through his unconventional ideas that he has represented as sketches and in the form of

models. These were ideas of the avant - garde that would shape

a completely new system of architecture. One, that would be an advancement of the historic developments, and would help shape a more utilitarian world, one that is aimed at purity.

These can help create spaces that will no more be forced with

a function that has been followed by form. Spaces will be a free flow, which will break the Cartesian grid of creating spaces. A new fresh face of spatial creation will be witnessed, that will be a new

creation, an insert into the already built structure. A construct, that will respect the abandoned, useless or unused space and will make it utilitarian, a Utopian world. SCOPE and LIMITATIONS

The study will remain focused on the aspects, ideas and principles of “Suprematism” and the “Conceptual methods of architectural

experimentation by Lebbeus Woods”. It will show the scope how

spaces can be designed without the limitation of form and function.

The study will not focus on the economic, political and social aspects of both the methods and the built. The study will limit

itself by not focusing into the individual lives of Kazimir Malevich and Lebbeus Woods (or any other person mentioned). The study

will limit itself from inventing a new style of design or architecture, but it will offer a direction that can be developed further. LITERATURE REVIEW Suprematism

Suprematist movement started as a part of the avant - garde

movement and it was established to form a new school of thought, a new system of architecture and a new art altogether.

From painterly cubism to tone - painting, spatial construction

Proposal

and towards “Construction on a new plane”, Malevich shaped a

new concept of realism as based on the plastic values of painting and the importance of the use of contrasts ( Malevich, K. S., 1968).

He was thought of as an anti-materialist and to his critics he questioned if consciousness determined existence, or existence determines consciousness.

Whether the chicken came from the egg or the other way round. He was not an ideal philosopher, but he questioned the most

fundamental statements, which led him to the theory of a definite

system of restricted colors and shapes that arise from a color mass turning into plane and volume for definite purposes. This

would imbibe a pure feeling of supremacy in all the Suprematists,

which shall lead them to radical ideas that would completely takeover previous ideologies (Malevich, K. S., 1968). The most important here, is the contrast of colors that is shown. The double

basis are the energies of black and white serving to reveal the forms of action . Here the contrast has a purity and so he has

not talked about color . With the introduction of color, an infinite energic composition shall be formed (Malevich, K. S., 1968) . Radical Reconstruction

Unconventional ideas, experimental attitude, and the curiosity to

explore to the finest detail of practicality was the way of the working of Lebbeus Woods throughout his lifespan. He believed

that disguise is the cause of crisis, that created an illusion of cultural differences amongst the citizens who are already are sufferers of passivity. The need for radical reconstruction thus arises, as it

defies this triad of Disguise, illusion and passivity. It is the Radical sites that will find a way out of illusion through a defined system and methodology changing the notions, ethics and morals of

the people. It is a cause and effect certainty (Woods, L., 1997). He believes that architecture is above life and that everything in the

world might change or come and go, but architecture endures as an idealization of living. He worked on a few tactics that focused

on knowing thyself and the way of working first with a continuous duality of contrast. (Woods, L., 1997) This is where the two architect - artist maestros integrate their ideologies.

INTRODUCTION

“

”

Design is a tool that contains the ability to improve the daily life and growing necessities of the human world. This opportunity

is taken by the designer to make the world a better place. The

conflict begins when a person starts to design. The conflict within oneself which demands the question of function and the

validity of the design process to that of the utility. The conception of a design process through oneâ&#x20AC;&#x2122;s own knowledge gap and perception is supposed to be led to an impeccable design. What is the absoluteness of the designed space or form? To attain that,

one needs to free the design from emotion, that invokes feeling. A feeling that is immersed with understanding leads to an objective design. That comprehended feeling is known as sensation.

Sensation allows for different experiences in space. The way the space is constructed creates different intensities of impulse in

oneself. The avant-garde of the 20th century revolutionized the field of applied arts in its totality by looking through and within art.

These radicals had impulse at their nub. The impulse demanded absoluteness and truthfulness of form and space. This led the shift

form realism to abstraction. Imitation of nature had been broken

down into true geometry on the foundations of non-objectivity. It was void of vagueness and utilitarian functionalism.

It often strikes to me if there is a datum of design process. What

initiates a design process and how is it initiated? What makes a radical topple the then current situations to a new direction?

What drives the avant-garde? Why is everything guided by a

Introduction

function that is temporary for a little longer period of time than

expected and that notion is mistook as a permanence, while it is just relatively less temporary? Why is merit given to the built

more than the process of design and idea? Each one has a different perception and perspective of the world based on past experiences, altered by emotion. The fields in applied arts have

progressed massively along with time. How they will help us

create a new world, one which is more interesting and dynamic, is what is aimed at achieving though this study. This document

talks about the development of art in cubism and futurism,

leading to one of the most radical art movements in history “Suprematism.” Suprematism is the supremacy of pure feeling in

art. It aims at achieving a zero of form through the means of non-

objectivity. Kazimir Malevich introduced Suprematism to the world of art and architecture. Pure form is seen as the space making element. Non-objective drawings and paintings, with restricted form and color aim at achieving zero form. El Lissitzky converts

these composed constructions into structures. Architectonics

of Malevich is the birth of Suprematist conceptual architecture.

Lissitzky carries forward the ideals into space and creates places.

He creates a stage for an Opera and exhibition spaces. Their works portray a constant relation of contrasting elements. A contrast of color, material and space. Transforming experiences through

unconventional and experimental spaces, by creating striking elements and exposing the process of structure as “construct” is

what takes the ideas of Suprematism further into sensorial space. Lebbeus Woods was the architect who took the lines and curves

to planes and volumes of a different kind, purely conceptual. The transition of two-dimensional space enhancing to threedimensional space making was established.

It is important to maintain the abstraction and dynamism provided by nature to us. It is the starting point of development of a more avant-garde human who gives himself the space to

understand what lies within and beyond, through pure geometry

and contrasting nature of life. It gives one the ability to take design to deeper levels of understanding. The spaces that we will

inhabit will not serve a utilitarian function, but its rational will lie in the purity of the form that forms it. It cannot be free form time and gravity, but is not even bound by it.

1.1 | CUBISM 1.1.1 1.1.2 1.1.3 1.1.4

Introduction Analytical and Synthetic Cubism Picasso, Leger, Tatlin Effects

Cubism has been regarded as one of the most influential avantgarde movement of the 20th century. It revolutionized European

painting and sculpture. It inspired a great deal of movements in the fields of music, literature and architecture. Cubism closely began with the Fauve revolt of 1905. It was a revolutionary

approach to view reality in different fragmented and abstract ways. Different viewpoints and perspectives were showcased in

the same painting by the artist, which gave it a three-dimensional form. In its early years Cubism grew under the combined impact

of the Negro sculpture art form and artist Paul Cezanne. Cezanne

believed that nature’s true geometry should be an emphasis that can be laid onto art (Figure 02). This thought became the onset

of the geometrical works of artists like Braque and Picasso. They reduced the disorder of nature to fundamental geometric forms.

The first adaptation of cubism as an implemented art form from theory is a painting by Picasso, “The Young Ladies of Avignon”

(Figure 01). This painting is a mixture of cubism, modernism and

primitivism art styles. An angularity entered the depictions of the natural forms of art. The paintings started to become more conceptual and abstract.

The transformation of crystallized form of facets cut like a diamond to further deformation started molding cubism to finer tones. The

deformation turned to disintegration of form, resulting into flat, overlapping, transparent planes, almost rectangular in shape. These were then superimposed onto a fore view that depicted

1.1.1 Introduction

the “principle of simultaneity”, which suggests different views of an object in the same picture being viewed at the same time.

Here, analytical cubism ends and transforms to synthetic cubism. Synthetic Cubism is the development of three dimensional,

sculpted and recognizable images to two dimensional, flat and linear forms that are geometry itself, not representations. The

later cubism showed highly vigorous and abstract compositions under the strong influence of machine aesthetic. Ferdinand Leger was influenced by the work of purists like Ozenfant and Le Corbusier.

Figure 01

The Young Ladies of Avignon (1907) Pablo Picasso Museum of Modern Art Oil on Canvas (92” x 96”)

Figure 02

The Bathers (1897) Paul Cezanne Museum of Modern Art Lithograph (91/4” x 117/16”)

With a comprehensive perspective and easily significant forms, Leger created essentially abstract art. It had a monumental

stability (Figure 03). Vigilant profiles and silhouettes portraying an architectonic quality and machine-like rigidity formed his

compositions. Cubism and Leger made a great impact on Kazimir Malevich, a Polish radical who started establishing his works in the line of abstraction in Russia. Moscow was emerging rapidly as a political center and also as one of the greatest artistic centers

of Europe. Miles away from Paris, Moscow had become home to

great art movements initiating from Cubism to Constructivism.

Cubism developed to a fourth stage which is the spatial stage. This stage saw a very important aspect in these fields of art and

architecture. It saw the possibility of painting in a real three dimensional space. The artist takes the painterly elements of the

canvas and transfers them in entirety to a real space. The surface

1.1.2 Analytical and Synthetic Cubism

factors will hold their own definitive significance.

In the painting (Figure 04), Picasso has used pointillage as a style to conceal the whole form and higher significance has been

shown towards the texture of the surface. The texture is densely

coarse and it appears to be the foundation of a wall built from the plane into space. Each body in such cubist paintings has its own properties and textures. They can be glossy, rough, hard, transparent, dull, opaque etc. The texture is dependent on the painterly intensity which is governed by contrast. This is known

as the artists â&#x20AC;&#x153;painterly perceptionâ&#x20AC;?. This painting depicts two different kinds of textures, which remain undistinguished and tie

a single knot in the contrast of the painting. The painting doesnâ&#x20AC;&#x2122;t

offer a utilitarian functional basis, rather portrays a painterly perception of the intensity of contrasts. The spatial painterly stage

is a stage of natural texture. Thus, various stages of cubism saw varied amount of contrast and difference in the work method,

style and thought process. A single formula was not obtained that

could lead to a constructive methodology to make a cubist art. It started with geometry as the first step, but with no amalgamation of the structure, neither the body of color nor the elements of the

art.

Figure 03

Three Women (1921-22) Ferdinand Leger Museum of Modern Art Oil on Canvas (721/4” x 99”)

Figure 04

Bottle of Rum (1911) Pablo Picasso Jacques and Natasha Gelman Collection Oil on Canvas (241/8” x 197/8”)

Many cubist paintings incline towards the contrast of a curved and a straight line. The paintings by Leger (Figure 05, 06), show a

development of form that can guide us to extract the features that belong to cubism. On comparing the two we find similar white spots. The use of linearity is quite more in the “Smoke” while compared to “Three Portraits”. The use of geometry prevails

in the buildings. Elements like roofs and walls are seen through

small gaps of streets engulfed by smoke. The whole landscape is reduced to a geometric simplification. It seems like the village

has been set on fire by the artist himself, in order to give shape to the smoke, hence creating a contrast element. Roofs also depict an idea of flatness, which is a contrast as an element. A sensation

of space is felt, which becomes utmost necessary in any stage of cubism.

The works of Leger can be analyzed with a basis, which gives us a

formula as the following : “volume, ring, line”. It would be expressed

as “O o -”. Still, we arrive to a point where we can see a clear spatial sensation, but we haven’t arrived at cubism. The basic formula

remains constant and universally accepted, i.e. volumetric, linear and plane. The sensation of material defines each composed construction differently. It was ‘Legism”, A contrast of contrasting

1.1.3 Picasso, Leger, Tatlin

elements. Thus, the spatial - constructive expression of Russian

artists has been known. Further we shall look at French Cubism. Looking at French cubism will reveal a few aspects that differ

form the Russian arts. Considering the fourth stage of cubism will help us to get an insight on the spatial development1.

French cubism was dominated by Picasso and Tatlin. Picasso’s works were known as “relief” and that of Tatlin’s were contre-

reliefs”. They have a common structure of texture and contrast

as a whole. There’s not much of a vast difference except that the reliefs were sharper and more correct than the contre-reliefs. The contre-reliefs were more planar. Picasso’s idea was of pure art in space, whose development can be seen in Tatlin’s contre-reliefs.

1 : Malevich, K. S. (1968). Essays on art 1915-1933 Vol. 1. Copenhagen: Borgens Forlag a-s.

Figure 05

Smoke (1912) Ferdinand Leger Solomon R. Guggenheim Museum Oil on Canvas (51” x 38”)

Figure 06

Three Portraits (1911) Ferdinand Leger Milwaukee Art Museum Oil on Canvas (763/4” x 457/8”)

Tatlin’s work was more abstract and lacked on the lines of utilitarian and functionality (Figure 07, 08). This influence of the artists grew

and spread among other artists. They got divided into two groups. One was “The Society for Young Artists” and “United by the Idea

of Spatial Painting”. But, gradually the cubist formula of creating painterly sensation failed to create artistic reality. So, a few artists

deviated towards objective painting portraying a constructive

attitude towards art. The artistic group “Jack of Diamonds” turned from painterly line to nature.

Tatlin was the last of the few ones who remained. He used an

artistic formula that helped him develop the materials further. The nature or “as suchness” of his works was preserved despite

having applied completely new textures. This particular feature of

his work is ultimate. It is terminal in the formation of pure, spatial, pictorial expression. It is terminal in the sense that the art is in

control of the cubist formula developed and adapted by Tatlin,

rather than it being in control of the viewer’s eye or touch as an artistic spatial sensation.

The artistic formula developed is a combination of two formulas.

One is the cubist system of painting and the other being

functional-utilitarian formula. Some artists got further divided into these two different directions. Tatlin followed the path of the utilitarian-constructive functionalism. This was the departure of cubism and the formation of a constructivist trend without a utilitarian function2.

1.1.4 Effects

In a constructive-utilitarian functionalism, solely artistic elements were cast aside, but it was preferable to arrive at an artistic form via utilitarian function. This gave birth to “Applied Artists” who were

a combination of artists and engineers. Perceptions of color and

texture, attitude towards materials changed. Thus, we have shifted from a two-dimensional picture to a real space that changed our

philosophies about art. This gives birth to a whole new type of an “artistic architecture”. This is the inception of “Constructivism”.

2 : Malevich, K. S. (1968). Essays on art 1915-1933 Vol. 1. Copenhagen: Borgens Forlag a-s.

Figure 07

Counter - Corner Relief (1915) Vladimir Tatlin The State Russian Museum Wood, Copper, Wire

Figure 08

Counter - Relief (1916) Vladimir Tatlin The State Russian Museum Wood, Rosewood, Fir, Metal

1.2 | FUTURISM 1.2.1 1.2.2 1.2.3 1.2.4 1.2.5

Introduction Dynamism Machine Flight Effects

Futurism was one of the first avant-garde movements that began as a revolutionary movement in 1909. It was founded by

poet and author Filippo Tommaso Marinetti. Marinetti defined

with great concern, the attitude that both art and man should be carrying with continuing progress. Futurism started as a project

for humankind. It was a new vision for man that he would face with machines, speed and technology. It was a mental discipline

and a futurist would strive to pursue an endless renewal of all things, i.e. the logic of becoming with utmost unification of human

life. Marinetti had no intention of creating an ideal city, a utopia. Futurism was dedicated to an instant rousing, open to all possibility.

activism, critical and

A futurist reflects the dynamic force of the objects , as it is felt (Figure 10). There is always a movement, which varies in tension.

One is greater, another is small and then there is one which can

be felt but the eye cannot catch it. This dynamic movement was discovered by the futurists. In futurism objects have very little significance for their “as suchness”. The main feature is the

dynamicity of the object. Futurists aimed at bringing art closer to

life. They experimented constantly with an aspiration to reinvent

the everyday life through art. Design, toys, fashion, typography, sexuality, factories, electricity, locomotives, behavior, sport, furniture, being some of the areas. To re-invent the combined

aspects of modernism in the same dynamic movement will be

1.2.1 Introduction

the futurists’ challenge. Futurists stay updated and their visions

are guided by the current technology and trends. One such

example is that of the “Electricity Fairy” that has been inspired form the electric energy, with the advent of electricity. Made in 1893,

by Henri de Toulouse-Lautrec, “Loie Fuller” (Figure 09), is devoted to the “poetry of motion”. This artwork displays an uninterrupted action of energy, through its rapid movement of colors and forms depicting universal life, of American actress and dancer Loie

Fuller. This was also a period when automobile and aviation were rising with great speed.

Figure 09

Miss Loie Fuller (1893) Henri de Toulouse-Lautrec Museum of Modern Art Lithograph (143/8” x 105/8”)

Figure 10

The Laugh (1911) Umberto Boccioni Museum of Modern Art Oil on Canvas (433/8” x 571/4”)

Born in Italy in the early 20th century, futurism is the foundation and epitome of the avant-garde, an inspiration to all art. “A

roaring automobile, that looks like it’s racing over a hail of bullets, is more beautiful than the Victory of Samothrace”. This was the

guiding notion of Marinetti (Figure 12) on which he established the

very principle of his Futurism : a speeding automobile embodied the parameters of energy and dynamism that were to serve as points of reference for the art of the new century.

Art started being practiced with respect to life itself and not

clinged to the past. It became an innovative force. With time and critics pointing the first manifesto of Marinetti as “useless

and dangerous”, the futurists were expected to transform their works according to the present-day life, constantly enriched by science. Soon, they come up with a “Technical manifesto of

futurism” that talks about the dynamism in the paintings. The paintings spoke of the machine and its speed. The triumphs of

science became the base of a renovation in artistic expression. It stated that art should be in tune with the lifestyles and forms of the modern world. The futurists believed that the painting and

art are the initial instruments of knowledge and that they are

meant to serve human progress. Futurism rejected the idea of motion and light for they damaged the materiality of the bodies.

The painting had to produce a universal dynamism and so they declared an essential combination of complimentary colors in a

futurist painting, a striking contrast3. Boccioni (Figure 11) declared

1.2.2 Dynamism

their ultimate aim to attain a typical, symbolic and universal appearance through a series of syntheses of every conscious

or instinctive step. A sense of divisionistic dynamic fluidity was

painted without divisionism. Example, “Swimmers” (Figure 16) by Carra (Figure 13). Geometric geometrizations were used by

Russolo (Figure 14) to enhance the psychic energy via sound waves in space in his artwork - “Music” (Figure 15). In it, the ghosts

of the dead composers are encapsulated in mediumistic masks. A faded repetition enhances the motion of the face. The aim had now become to invoke the inner energy and kinetism.

3 : Lista, G. (2001). Futurism. Paris: Terrail.

Figure 11

Umberto Boccioni (1882 - 1916 )

Figure 12

Filippo Marinetti (1876 - 1944 )

Figure 13

Figure 14

Carlo Carra (1881 - 1966 )

Luigi Russolo (1885 - 1947 )

Figure 15

Music (1911) Luigi Russolo Estorick Collection Oil on Canvas (863/5” x 551/10”)

Figure 16

Swimmers (1910 - 12) Carlo Carra Carneige Museum of Art Oil on Canvas (63” x 433/10”)

They started taking inspiration from the then current experiments in various fields of physiology, laws of nature, photography, etc. The

futurists were now extracting elements of scientific investigations

and were expanding their dynamism. Boccioni, Carra and Russolo started revolting against the bureaucracyâ&#x20AC;&#x2122;s insolent authoritarian

attitude, in order for their art to survive. Later, they start on a journey to explore cubism. The futurists depicted a sense of force in space, their vision being a mere transition of energy,

just by the fusion of the object and its surrounding. The Futurist pictorial dynamism was crucially being given a new expression in accordance with the Cubist decomposition of form, by Severini and Carra. Duchamp was claiming to have attempted a Cubist

interpretation of a Futurist formula. After a lot of discussions and debates between the futurists and cubists, the critic Marcel

Boulenger called the painters for a â&#x20AC;&#x153;Cubo-Futuristsâ&#x20AC;? exhibition. They were people in the same canvas, with different approaches and methods towards art.

In the 1920s, Futurism took a turn towards mechanical art, as

its perfect utopia was coming towards an end4. Marinetti had

already sown the seeds of its theoretic foundations in the face of the Fascist revolution. An image of the machine - man that was created by Marinetti was reflected in the sculptures

of Boccioni and in the paintings of Balla and Severini. From the roaring automobile as a machine it had transformed to the

labor of a man as machine. The dynamism has still remained, but the motive of art is changing. A greater plastic solidity was

1.2.3 Machine

being rediscovered after the kinetics and electric vibrations. The

beauty of machine gears and the volumes of the metropolis had become a fascination of the futurists. Mechanical art was not just a codified expression, but each painting was a unique sensibility

of the painter. The futurists built a completely new art form based on the wonders of the industrial world. It was not about painting the parts of the machines, but to understand the laws of construction and the formal values of the machine.

4 : Lista, G. (2001). Futurism. Paris: Terrail.

theme. According to Marinetti, the aeroplane is a winged machine

that can speed so fast on the ground, that it breaks contact

with the ground and soars high in the air. This developed into aerostatic photographs and also understanding the experience of a pilot in flight, and the sensory and psychic experience of

1.2.4 Flight

In the 1930s, Futurism became entirely focused on the aerial

flight5. Aerial views of the city, through the eyes of the pilot,

aerophotographs became part of the experiments of Bucci,

Garcia and Baldessari. The city network layout, the light and the

wholeness of spatial arrangement of the city, evoked a sense of elementary geometrization of forms and volumes, that werenâ&#x20AC;&#x2122;t explored before. The miniaturization of the city, turns architecture into an abstract game. Exploring

the

experimental

directions,

the

aeropictorial

investigations of the futurists, sought to both mental and physical

visions of flight. The physical vision dealt with looking downward,

aiming at directly illustrating the essential dynamism to the aerial vision. The mental vision dealt with looking upward, with a more

psychic and spiritual experience taking over and controlling the space.

Thus, existing in various forms, bestowed with great creative

vitality, Futurism has made a place in the history of modernism. It constitutes and sets a base for coming ideas, and will remain

the archetype of every avant-garde. The wholeness of Futurism

started to vanish when the parts of the movement, the constructive and the aesthetic, became devoid of detection in themselves.

This made the arrival of painting at what it wanted to achieve idea of moving forward and not hanging on to the current. The

very idea of Futurism led to its end, but its principles helped form the basis of Suprematism and further movements.

5 : Lista, G. (2001). Futurism. Paris: Terrail.

1.2.5 Effects

difficult. It was a movement of speed, and speed demands the

2.1 | KAZIMIR MALEVICH 2.1.1 2.1.2 2.1.3 2.1.4

Introduction Ideology Works Effects

The world was moving towards a new era of art and architecture

in the early 20th century. Revolutions pertaining to the purity and truth in these fields was no more a rarity. To understand the metaphysical nature of nature and apply its true meaning in the

form of non-objectivity had become the aim of the then artists,

architects. Kazimir Malevich was a Polish art theorist, artist, writer, apart from being a great visionary (Figure 17). He has written several important texts, some of which has been published

into books with or without his consent. He has talked about the development of modern art and architecture and the post revolutionary movements of Russia. Malevich, in order to reach

to his supremacy better known as suprematism went through a process of understanding and following the then existing art

movements. He went in depth in the subjects of cubism and futurism, that helped him reach to his suprematist ideology.

There came a point when art started being looked deeply into, to understand its significance. The dogmas of academic art

and realism were much debated upon. Malevich gives great importance to cubism and futurism, from which he transformed his art into zero of form. He breaks free from the â&#x20AC;&#x153;circle of thingsâ&#x20AC;?

that restricts an artist and the forms of nature. Malevich advocates

boldly declares the target of destruction and seeks to express and impose its will.

He believed art to be true and that it was not about sincerity.

2.1.1 Introduction

Seeking forms that correspond to the modern life, we should grow with age in art too, and not hold onto the older principles

of romanticizing forms of nature. The living form of nature when

imitated results into an immobile and dead representation of the original living form. The greater art is producing art which copies

the real forms of nature, the geometry. A system constituted in time and space, independent of any aesthetic consideration of beauty, experience or mood, but rather as a philosophical

color system (Figure 18). A system that is constructed and not

composed, made up of basic geometric shapes with a restricted color palette.

Figure 17

Self - Portrait (1933) Kazimir Malevich Russian State Museum Oil on Canvas (287/10” x 26”)

Figure 18

Woman with Pails (1912) Kazimir Malevich Museum of Modern Art Oil on Canvas (315/8” x 315/8”)

Malevich believes that both material and spiritual concepts represent the conditions of human existence, a journey of adaptations. Man’s life is governed by aesthetics and ethics6. Malevich was convinced by the techniques and tools of the realist

painters, but not with their understanding of the forms of nature and the underlying sacred geometry. He believed in geometry

and stated that art should lead towards a complexity and not reduction or simplification. His methods were later going to reach the soul of man and not only penetrate the body in its physical

layers. Malevich urged for a harmony, not composition. He urged

for a construction, not an arrangement. He urged for creation, not an imitation. He states that the imitation of nature on canvas is just a worse form of representation, as it is less accurate than the

great and existing nature. The greatness is in creating new forms,

that are constructed through parameters like weight, speed, force and movement. The forms should hold a dynamic character, one that also justifies its own uniqueness.

“The artist can be a creator only when the forms in his picture

have nothing in common with nature,” states Malevich. The artist has a responsibility of transforming his talent into creation that

will help increase the flow of life. Futurism is one such movement that Malevich believed opened a newness in modern life by

enhancing speed, resulting into dynamism and movement.

But, he also strongly suggests a “new” in art. This gave birth to Suprematism, a new movement with superior and progressive ideals than Futurism. The idea still being, to move on and create

something new, not clinging to the past. Futurism is a movement

2.1.2 Ideology

of the machine, not meat. The two world have collided here7. The

essential element in the futurist paintings was the condition of

objects (explosion or collision at the moment for example) than

the meaning. Still, its beauty is derived from a calculated taste of aesthetic from the sub conscious, not instinctive purely. The intuitive form blooms from nothing. The forms of Suprematism are constructed from nothing but intuitive reason.

6,7 : Malevich, K. S. (1968). Essays on art 1915-1933 Vol. 1. Copenhagen: Borgens Forlag a-s.

Malevich believes ego to be supreme, but that it should be

liberated. He dreams of a new world without limits and grounds,

an absolute newness. That newness is untouched by dominating authorities and is a world of awareness that we build and keep clean. The paths in this world are swift and the spirit of the young is rushing. Malevich believes in reconstruction and not renovation.

Howmuchever we beautify the older ideas, their structural weakness will refrain it from standing against the new ideas. This

is the age of speed. The new architect will speak a new language of architecture, devoid of the so called aestheticism. Malevich declares a fifth dimension that is the basis for Suprematism and under whose control all systems fall into; which is â&#x20AC;&#x153;Economy8.â&#x20AC;?

These systems are the creative ones that are sensations, illusions to the tangible world. The utilitarian form is formed by the

aesthetic action which is a beautiful amalgamation of harmony

and dissonance, as formed by nature. Each form in nature, may it be a flower or a stone carries its own character and property, but in the end all form one picture. All forms and man too, has

one supreme aim which is of beauty. But, every activity done to

achieve something, results in spending the energy of the body. But, all bodies aim to preserve their energy and so we can conclude

that all actions simply result to an economic method. All forms of

action are not composed of aesthetic, but of economic necessity. What is this aesthetic beauty? Is it a form of nature or are they the elements of nature? What does the painter see in a landscape

that makes him say its beautiful? Would the flower appear as beautiful as it is, without its variance in structure? Nature creates newer forms constantly from what she has already created as

she doesnâ&#x20AC;&#x2122;t desire eternal beauty. The painterly masses in motion depict the unity of individual painterly forms, they showcase

symmetry and harmony into one picture. Man cannot conquer nature, for he is nature.

8 : Malevich, K. S. (1968). Essays on art 1915-1933 Vol. 1. Copenhagen: Borgens Forlag a-s.

Quoting Cezanne, â&#x20AC;&#x153;I base nature on geometric principles and

reduce her geometry not for simplicityâ&#x20AC;&#x2122;s sake, but to express surface, volume, the straight and crooked line more clearly, as

sections of painterly-plastic expression.â&#x20AC;? He reduced forms to

geometric bodies of cone, cube and sphere. A new stage will be hence established in the contemporary culture, of an economic

as well as an artistic nature. The truth comprises of a combination, of line. Volume, surface, color and texture into one body. Intuition

leads us to the basis of creation, and to create something new, we must first be free of the objective (Figure 19).

The construction and system of an element determines the

completion of a conquest, and to create form is the conquest of movement, which is infinite in nature. Art, as it progresses is not

always for evolution, but sometimes also for and as a revolution. Both aim for a unity of creation which is by formation of signs and

not by repetition of nature. Cezanne also portrayed a contrast in his works that had achieved a sensation of form. The contrast was

in the straight horizontals and the vertical lines; in the bent curved ones with the plane and volume and the plane with volume. The

Cubists, on the contrary started looking at the object of art from

all sides. They questioned that why the object should be looked

at from only two, three or four sides. The object should rather be looked at in actuality, from all sides. The problem faced here was of fully conveying the object, as academicism had taught us

to look at the object from a few conventional sides. The objects beauty, the beautiful angles of observation, the inside and outside

2.1.2 Ideology

(Figure 20). To obtain a full picture of the object we should put together the aspects that we know and the ones we see. What came as important was the construction of these art wherein the process

of completion, the individual components held more power in conveying the painterly contrasts than the completeness of the thing. The construction was meant to achieve a necessary dynamic condition and harmony.

Figure 19

Samovar (1913) Kazimir Malevich Museum of Modern Art Oil on Canvas (35” x 241/2”)

Figure 20

Reservist of the 1st Division (1914) Kazimir Malevich Museum of Modern Art Oil on Canvas (35” x 241/2”) with collage of printed paper, postage stamp & thermometer

We seek for a unity of these elements. Man is the revolution above all revolutions of the past. The elements are needed to be fused

into man like a single organism. Such complex, yet simple is the construct. The wind is an individual element per say, and the

windmill, is a system that constructs the trapping of wind taking

it into itself as one system. Similarly a pole of unity has been formed in humanity that converges all cultures as a single sum of conclusions .

In case of the painting, it is important that the painting is growing within a particular space, while the space is not important. It is similar to an oyster with a pearl. The pearl is important and it

doesnâ&#x20AC;&#x2122;t matter which oyster does it belong to. Cezanne and Van Gogh were two figures who took Cubism and Futurism to their epitome. Van Gogh saw movement and life in the forms. He saw

it as a simple tool that helped in carrying the dynamic power. He analyzed in it a single universal movement, that made him conquer space, everything rushing into depths (Figure 22). Thus, a

new economic order is being brought about moving towards the infinite, and this is where today lies, our creativity has to follow it.

Treading on the lines of Cubism and Futurism, Suprematism arose in Moscow in 1913. It was the symbol of non-objectivity, a new color

realism - the plane that formed a square. Suprematism is non-

objective in the sense that, it does not deal with things or objects. It became a movement that transformed color to culture. Mixed

colors turned into a chaotic mixture of aesthetic warmth. The new

2.1.2 Ideology

frameworks of pure color painting should be now constructed in

accordance with the demand of color. Color should transform

into an independent element from the painterly mixture. It enters the construct as an individual of the collective system.

This system is constructed in time and space, devoid of moods,

experiences and aesthetic beauty. It will be a system of philosophy for realizing Malevichâ&#x20AC;&#x2122;s ideas, as knowledge. This is where man is leaded to and Suprematism is a color variable in this infinity.

Figure 21

Girl with a Mandolin (1910) Pablo Picasso Museum of Modern Art Oil on Canvas (391/2” x 29”)

Figure 22

The Olive Trees (1889) Vincent Van Gogh Museum of Modern Art Oil on Canvas (36” x 285/8”)

The abstraction of realist color into purity is the liberation by the

Suprematist system. The blue color of the sky has been broken through into white, a true real inception of infinity. Color is purely a philosophical movement in Suprematism, which is just a single

way of looking at it. Secondly, it can be seen as a form that can serve as a new style of Suprematist decoration. Each color mass that has been given the form of a plane or a volume has been designated for definite purposes. A Suprematist will aim at

creating new phenomena form what already exists as a critical and philosophical basis.

Suprematism is divided into three stages - the black, colored

and white periods. These were developed purely on planes. The constructions were based chiefly on the fifth stage of economic principle depicting the power of statics or a dynamic rest of the

plane (Figure 23). Suprematism action creates an organism, a unified body through the means of economic geometricism. In

this concrete world, Suprematist ethics also enforce a utilitarian

perfection that clearly indicates dynamism. This perfection is achieved through the harmony of form into a natural action by the means of a certain magnetic interrelation of form (Figure 24).

Every Suprematist body that will exist will be built as a natural organization and will form a satellite. It will bear the life of

perfection in itself. Each satellite will orbit in its own path, the

element that has emerged from the interrelations of natural forces. Intermediate Suprematist satellites in motion will achieve circular movements along a straight line of rings from one to the

2.1.3 Works

other. This will be the only possible way to move to any planet. Each

satellite has a life and mind of its own. It reduces and separates

to certain states in this enormous planetary system to maintain its individual life to eliminate its destruction. It forms friendly pacts

and creates a system of world building. Such utilitarian perfection

has been achieved by the Suprematist forms. They are free form the surface of the Earth and can be studied like any other planet or entire system9.

9 : Malevich, K. S. (1968). Essays on art 1915-1933 Vol. 2. Copenhagen: Borgens Forlag a-s.

Figure 23

Painterly Realism of a Boy with a Knapsack Color Masses in the 4th Dimension (1915) Kazimir Malevich Museum of Modern Art Oil on Canvas (28” x 171/2”)

Figure 24

Suprematist Elements : Squares (1923) Kazimir Malevich Museum of Modern Art Pencil on Paper (193/4” x 141/4”)

This is not a process which will abandon the Earth, but it is just an indication of the future construction of prototypes for the technical

beings, Suprema - formed with a pure utilitarian necessity10.

They will be represented on a canvas - a window though which

the discovery of life is attainable. This Suprematist canvas will reproduce white, a limitless optical beam that can penetrate

through infinity. The moving bodies , their movements and nature

in this infinite space still remains undiscovered. Both, colors, forms and figures have a black and a white period. This double basis of

the energies of the black and the white, serve to reveal the forms of action. Color disappears here due to the pure utilitarian necessity

in an economic limitation. The revelation of color depends upon

the origin of the material and its composition of elements that

create and define the form of energy. Energy colors movement, so for an infinite creation, materials and energetic compositions will change in accordance with the economic considerations.

In Suprematism, black and white are energies that reveal form.

This is in regards to the canvas depicting volumetric forms.

In a tangible action, light reveals the form. So, in a Suprematist

construct, black and white are considered as energies from which the material’s energy arises. The three squares of Suprematism represent the definite types of world view and built.

The white square, is purely an economic movement of form evoking a pure action, as self knowledge in a pure utilitarian

perfection of all man (Figure 25). The black square determines

economy and the red square is the signal of revolution. This

2.1.4 Effects

calls for a single system of world architecture on Earth. Malevich established a group called, “UNOVIS” in 1919 at the Vitebsk school

of art, that affirmed this creation (Figure 26). UNOVIS, meant “Advocates of New Art”, which transformed to “POSNOVIS” saying,

“Followers of New Art”, finally transforming into “MOLPOSNOVIS”,

meaning - “Young Followers of New Art.” Iakov Chernikhov, Ilya Chashnik, El Lissitzky were a few members of this group who took this non-objectivity forward.

10 : Malevich, K. S. (1968). Essays on art 1915-1933 Vol. 2. Copenhagen: Borgens Forlag a-s.

Figure 25

Suprematist Composition : White on White (1918) Kazimir Malevich Museum of Modern Art Oil on Canvas (311/4â&#x20AC;? x 311/4â&#x20AC;?)

Figure 26

UNOVIS Logo (1919) Kazimir Malevich Pencil on Paper

2.2 | EL LISSITZKY 2.2.1 2.2.2 2.2.3 2.2.4

Introduction Ideology Works Effects

Lazar Lissitzky better known as El Lissitzky was a Russian artist, photographer, architect, designer (Figure 27). He influenced the avant-garde Russian revolution. His innovations were also in the

fields of typography, advertising and exhibition design. He studied in the Vitebsk art school, but was dissatisfied with the regional

character of the city, and so he shifted to Germany. Lissitzky then settled in Moscow following the principles of Kazimir Malevich.

His works were inspired from Cubo-Futurism, Constructivism,

Lubki and Suprematism. Lissitzky created Suprematist designs, designed a series of propaganda posters, and majorly began to work upon abstract geometric paintings which began to be known

as “PROUN” - project for the affirmation of the new. The PROUN

works were shown in the exhibition of Suprematist collective “UNOVIS.” Lissitzky believed that we should not get limited by what

we inherited as architecture, but we should reconstruct or rebuild

it completely, for a new creation of life that fosters culture and most importantly architecture.

Art today, belongs to the field of Science. In the age of war,

revolutionaries emerged, in all fields of life. Art saw great influence

post-realism and it affected all adjoining fields. Experimentation flooded all creations. Through a process of analysis, the basic elements of three-dimensional design were uncovered by the

new creative forces. The world was started to be understood as one of a geometric order. Two different views emerged at this

2.2.1 Introduction

point. One view was through vision, through color and the other

was through touch, though materials. Throwing light on the first

conception, it showed us that the world is built up of an infinite

space, of a color planimetry. Looking at it logically, there was a denial for the color spectrum, that resulted everything in the

form of a monochromatic color scheme of black and white11.

Turning to design, it changed it to pure volumetric abstract forms, becoming a transfer point for architecture. Dynamic expression and a harmony was established between the new volumetric solids, further developed by the architects (Figure 28).

11 : Lisitskiy, L. M. (1970). Russia: An architecture for world revolution. London: Humphries.

Figure 27

Lazar Markovich (El) Lissitzky (1890 - 1941 )

Figure 28

The Constructor, Self - Portrait (1924 - 31) El Lissitzky Museum of Modern Art Gelatin Silver Prints (77/10” x 87/10”)

The second conception required both, a tactile and visual

perception of things. The design process emerges from the

medium or material that is used. This was the period of Cubism where Tatlin and Picasso were progressing into art independent of the methods of technology. Their works were known as “relief”

and “contre-relief” respectively. The methods of construction

that Tatlin believed in was an intuitive and artistic mastery that

would lead the invention of the new. The new architecture would permeate between the interior and exterior of the volumes. This gave birth to constructivism and established a strong significance in the reconstruction of architecture.

The cities are getting older, but the new buildings were forming

a new era of architecture. The massive buildings constructed in steel and concrete, with glass surfaces, were projections of power

rather than expressions of new ideas in design. Spatial effects portrayed in each buildings were unique. The deliveries of goods to the buildings were made with specifics that could rhythmically control the traffic and provide for vertical transitions via lifts, and then redistributed in a horizontal direction. The buildings

were striving for antiacademicism. New guidelines were being established as methods of teaching, sanitation and economy.

This will open up newer possibilities in the social system and thus, reconstruction will pose new demands.

Reconstruction is a long process that takes time to accomplish. With the advent of industrialization, the machine arrived and it

2.2.2 Ideology

made room for industrial plants and agricultural cultivation.

Industrial sheds and machines have developed and the work of the architect is not only creating its outer shell, but also making it feasible as multi-functional spaces. These large industrial

spaces are also used as conference halls, concert spaces, stage

plays and exhibition spaces. These spaces have become places that educate the new Socialist human. These larger spaces are

subdivided into multiple fragmented spaces that lead to the formation of something new.

Cities have expanded into higher levels of culture in the country, by keeping nature at its center. Each city should have a basis of broad concepts. The social structure of the society and the

technological development determine the growth of the city.

Technology makes sure that the volumes producing newer

tensions and bonds in space are structurally sound. The Utopian

dream of getting rid of the understructures, one that are bound with the Earth, demands for a floating architecture - dynamic and

free from gravity. A new unity shall be created, an amalgamation of the interior space, structure, function and exterior volume. In

architecture we strive for a social order to raise our instinctive

feelings to a conscious level. Architectural growth reflects an analytical process.

First being the destruction of tradition 12.1. The future development is formed on an ideology with two basic commands, the elementary and the invention. The works have to be invented within their

completeness, in co-ordination with time. The incorporated

design must begin with geometry as basic forms. The growth prevails in a conscious order struggling against chaos. Second being the start of construction

. Initiating with industry

12.2

and then towards production, new structural methods and materials were to be invented to give the product a transformation

and a self clarity. Either you say machine for an engineer or architecture for an architect, the solution was to be derived from one formula, where the â&#x20AC;&#x153;Xâ&#x20AC;? to be found is by the same method.

Thirdly, reconstruction 12.3. This requires an overall cultural revolution that is rich in its physical, psychological and emotional character.

The utilitarians are challenged by the formalists. Volumes have to be properly constructed catering to feasible utilitarian functions, with an orderly material classification. In all, it should be a definite influence of creation on the human spirit. The creation should be

alive as a spatial idea giving expression to the art of architecture. This will be the birth of a new architecture - a reconstruction.

12.1, 12.2, 12.3 : Lisitskiy, L. M. (1970). Russia: An architecture for world revolution.

London: Humphries.

Victory over the Sun Lissitzky doesnâ&#x20AC;&#x2122;t just make it his goal to improve the current

situation, rather he establishes new perceptions for things.

Everyone has become a part of the situation called â&#x20AC;&#x153;cityâ&#x20AC;? and no

one really looks at the city as a whole, as an extravaganza. Each individual is well energized with a particular energy and function,

but as a whole the city takes no shape, forming an irregularity. A work of art is one that is channeled through organized united

energies. Victory over the Sun was a Russian Futurist Opera whose stage design was undertaken by Kazimir Malevich. Lissitzky contributed greatly to it. The main frame consisted of a square

within which all scaffolding was built and was accessible from

all ends. The stage machinery provides abundant movements of parts. Each individual part is movable, elastic and revolving,

governed by electro-magnetic forces and devices (Figure 29).

The main controller to this stays in the hands of the director, who controls the light, sound and specific movement. The intensity of the ambiance of the set and mood change as per the scene.

Flashes of light, voice modulations, diffused light rays, movement

of figurines, each are all intensified by the director. The music was Russian avant-garde poetry by Kruchonikh and the decoration

were the backdrop curtain, painted by Malevich - the black square.

The human figurines are inspired by the text of the opera that anchors upon the continuity of happenings of man (Figure 31).

Man, with his power of invention and technological advancement has created his own energy source and has overpowered the

2.2.3 Works

Sun, the expression of old world energy (Figure 30). The colors of

the panel are similar to Suprematist Prouns. The colors are mere representatives of the original materials. The red, yellow and

black parts will be replaced by polished copper, dull iron, etc. This

was the manifestation of the futurist ideas that were now being questioned as man was soon going to be overpowered himself by machine and then he would be destroyed by nature13.

13 : Lisitskiy, L. M. (1970). Russia: An architecture for world revolution. London: Humphries.

Figure 29

Part of the Mechanical Setting from Figurines (1920 - 21) El Lissitzky Museum of Modern Art Lithograph (1715/16” x 149/16”)

Figure 30

The New Man from Figurines (1920 - 21) El Lissitzky Museum of Modern Art Lithograph (121/8” x 125/8”)

Figure 31

The Sentinel from Figurines (1920 - 21) El Lissitzky Museum of Modern Art Lithograph (155/6” x 12”)

The Great Berlin Art Exhibition of 1923 The “PROUN” Space

Lissitzky defines space as a physical place where one wants to

live in, and is not only for the eye to see. It is something that is not looked through a keyhole or an open door. It is more elaborate, yet comprehensible. The exhibition space assigned to Lissitzky was an exhibition hall of a railroad station, that contains various

boxlike spaces. Each is made up of six surfaces - floor, ceiling and four walls. The space has to be designed not like a residential hall room, but has to be organized to let the viewers move around the space with utmost ease and inquisitiveness (Figure 32 - 35).

To get the person into the space, a diagonally aligned form is placed that directs the visitor straightaway to the large horizontal

on the front wall, and then to a wall no. 3, with a vertical. The exit is a “S T O P!”, which is actually a square at the bottom. Lissitzky believes it to be the basic element of all design. A basic geometry of lines,

surfaces, cubes, cylinders and spheres was used to construct the space. A monochromatic black, white and gray formed the color

palette, while materiality was enriched with wood. Elements and

forms were arranged in a meticulous harmony with each other, at specific angles of geometry. Lissitzky created an exhibition

space, which he referred to as a demonstration space. The space

that would demonstrate his ideas and principles and his basic set of rules that he followed while designing the space.

The new space had to portray the dynamicity of Futurism and

the non-objectivity of Cubism. Lissitzky aimed at an equilibrium

2.2.3 Works

in space that would be both free to move and at the same time

elementary. He believed that space existed for man and not the other way round.. Man’s activities must be brought into a harmony

by an elementary structural system that responds to his needs.

Lissitzky said, “We reject space as a painted coffin for our living bodies.”

Figure 32, 33, 34, 35 (Above and Below)

PROUN Room Exhibition (1923) (“Proun” describes the “station where one changes from painting to architecture”) El Lissitzky The Great Berlin Art Exhibition Mix Media

Art and Mathematics Planimetric Space

The plastic form is one generated by the natural object and one where the work is being comprehended. That form is formed by

physical flat surfaces. It has the rhythm of the numeric series - 1, 2, 3, 4 and so on. If there are two elements, one behind the

other, the one behind is not halted of existence. There is simply

a distance existing in between the objects present in space. The two-dimensional space is merely a surface inclusive of other

surfaces, in the same dimension. Thus, the series 1, 11/2, 2, 21/2 . . . is created.

Perspective Space

Perspective is a system in the lucid spatially constructed system,

of which the eye sees frame by frame - surface by surface. Perspective space portrays clarity and objectivity. The real space is confided inside a cubic box and then stretches to a

point of reference resembling a pyramid form. The whole three-

dimensional geometry is depicted on a picture plane. The objects in a perspective space are different than those in a planimetric space. Here, the numeric order goes like 1, 2, 4, 8, 16 . . . and so on.

Two surfaces, different in intensity, in separate planes, will also be perceived to have a distance in between them, and that will be their relation with one another. Irrational Space

This space is in regards with the accurate, measured by intensity

2.2.4 Effects

of color planes and their position. If we for example, calculate the

relationship of a diagonal of a square to its side, the answer to it will be an irrational number, with a never ending infinite precision. Suprematism has thus, broken the skyâ&#x20AC;&#x2122;s blue into pure white -the complete spectrum with a spread onto the surface and into

the depth of space. Thus, when compared to numerology, the Suprematist space contains all numeric series : whole, decimal, negative, positive, and irrational numbers, inclusive of ().

With the help of this, multidimensional real spaces can be entered.

Here, space and time have been fused into a single whole, that can interchange when necessary. But, this mathematically rather

theoretically constructed multidimensional space cannot be

visualized neither can it be given material form. Unfortunately,

because we can just alter the physical space, but not the structure of it, i.e. the three-dimensionality. To twiddle with time is nearly impossible as to is one-dimensional. Space is made up of objects

that are formed by elements. Hence, we can say that space is divergent and time is sequential. Our senses can be enhanced by

the technical means and so far we have been able to extend our capabilities, not transform them principally. Imaginary Space

We have a limited reach of dimension and that limits our visual perception. Through different techniques and phenomena that

can capture, superimpose, enhance, give additional effects to the objects in motion, our ability to imagine has progressed. This

will be the fall of monumentality, as this dynamism will ask for

rapid change. A change in methods and ideas. But, even today we long for creations that are indestructible, invincible and massive. This happens not in relation to the time it will stand, but with the progress it has made as a man-made object and where it leads human progress to.

Lissitzky feels that, experience proves that progress consists of our being compelled to accept and, indeed, to regard as self-

evident and essential, views that our forefathers considered incomprehensible and were in fact incapable of comprehending.

2.3 | LEBBEUS WOODS 2.3.1 2.3.2 2.3.3 2.3.4

Introduction Ideology Works Effects

Lebbeus Woods believed in an architect’s radical imagination for

architecture. He saw architecture as a manifestation of knowledge

which acknowledged the body, to make it able to ideate and draw. The crisis in architecture is the hindrance in creativity, the realism of built forms, a mundaneness in space making,

temporary functions guiding form, less importance being given

to the conceptualization of the unbuilt and the thirst to weave a

utopia in a world mixed with infinitely diverse ways and whys. This

has been the result of a consumer culture. Consumer culture can

be distinctly defined as a culture where social status, values, and activities are centered on the consumption of goods and services. In other words, in consumer culture, a large part of what you do,

what you value and how you are defined revolves around your consumption of stuff. Crises is a conflict of incomparable realities, with different orders, when they meet and struggle with one another. The consumer is in a continuous relaxation waiting to be

pleased by the mass culture. A passive state is thus maintained

that make the crises non - existential. A pretense of no crisis prevails through the consumer culture. A triad of disguise, illusion and passivity is established. The crisis is successfully disguised at

the core of this culture. Disguise becomes the cause. An illusion of the cultural differences and energies is initiated, with the ongoing passivity of the consumer.

To overcome this, Woods suggests a newer way of architecture,

an innocuous triad of radical sites, methods and ethics. The sites

2.3.1 Introduction

would no longer be a pretense, the cultural differences will find

apt methods to break free from the illusions and the ethics and morals will help build resistance in the consumer. The objective of

this action is the architect himself, who will humbly accomplish the necessary expectations in his field14. Matter and memory are

linked by architecture where they are one and the same, resulting into comprehended spaces. Spaces are formed by enclosures; enclosure of planes or surfaces. Such, peripheries or boundaries

are ingrained in architecture as “walls”. They simply are not dividers of space, rather they define the space. Lebbeus Wood’s walls define spaces within themselves.

14 : Woods, L., & Jacobson, C. (2015). Slow manifesto Lebbeus Woods blog.

New York: Princeton Architectural Press.

Figure 36

Lebbeus Woods (1940 - 2012 )

Figure 37

Berlin Free - Zone 2-3 (1990) Lebbeus Woods lebbeuswoods.net Drawing

They create zones with censorious edges free from the norms

and conventions of living of the urban life and culture. These spaces can vary from the scale of a small ghetto to that of a city,

lying in between corroding and clashing cultures. These zones of crisis give birth to new ideas that are vital to the growth of a newer culture. Thus, a wall can be both metaphorical and literal. Literal in terms of its relation with the earthâ&#x20AC;&#x2122;s crust, structurally.

Metaphorically, the wall can be perceived as pure space, that is

almost free from the mass and materiality of architecture and the certainty of its cause. The spaces within the walls are not anticipated by the architects. They are visual stimulations of the

senses meant for the self interest of the maker, directions that will encourage change by others. Architects will refrain from the

usual ways as they might be useful somewhere else. In trying to

make the space more instigating to move and rest, they formulate geometries and methods of construction. This holds the dynamic

relationship between the things and people. Occupying the

spaces made possible by radical transformation does not occur through discarding existing ideas and systems, or by creating something that is completely new, but by expanding what is as a limit or a restriction.

The architect should start by addressing the prospect of the building. An architectâ&#x20AC;&#x2122;s physical domain covers the built

environment - the context, the experience as a tangible entity, material and construction. But, the physical environment is not

necessarily the one where his/ her work will begin or proceed

2.3.2 Ideology

towards. This is because the architect does not control the

physical built of the building. It is controlled by the financial and

material resource providers. Architects are not the builders, the financers, the clients, the engineers, they are just designers of

instructions that guide a process of how and what the building will be15. We can come to a conclusion wherein its safe to state

that the architectâ&#x20AC;&#x2122;s unbuilt design has the potential of becoming architecture, while it resides in the form of sketches, models, drawings and ideas. So, what is architecture ?

15 : Woods, L., & Jacobson, C. (2015). Slow manifesto Lebbeus Woods blog.

New York: Princeton Architectural Press.

Architecture is a concept, rather a built realization a particular concept or idea. The idea can be about structure, form, function, etc., aspects. But, this is true for every building and that is not just

architecture, any building made with the skill set of a laborer or

a contractor. Architecture is more of a unique idea originating in the single mind of the architect, showcased in his work through

sketches, models and/ or drawings. So, then are the mediums and

instrumental tools of the architect’s process architecture, or they only hold the potential to become so. In either case, it cannot be

provided for as the only way for architecture to exist. Trying to understand the value of this question surely has the potential to lead architects to more honesty.

Thus, Lebbeus Woods started by trying to give a visual and

tectonic form to his drawings in 1973, when he initially started his quest for conceptual architecture. He saw a life in them. Threads

of conflict and transformation , interplay of the organic and geometric, the fantastical and the mathematical, run through his work. There is still a certain balance of planning and spontaneity

of the drawing. A contrast and a balance of the system portrayed the paradoxical nature of the human condition. Now, this theory

has to be related to practice. Architecture comprises of diversity,

urbanity and the very idea of the “city.” It will create spaces in the city that would enhance the current social and primary construct

by healing the wounds of the city. These spaces will act as “free

spaces,” ones without any predetermined function16. This will urge

for the innovation of new programs leading to new thinking and growth of the city. Thus, architects can be called as “idea people”

and architecture - an “idea” ? What architects know has to be deepened to the level of principle.

This comes with integrity, the foundation of all good buildings.

There are three integrities, that form the building. The integrity of function, of material and that of structure. The integrity of function forms the spaces and form of the building according to

their intended purpose. The integrity of material meant the usage of material in accordance with its inherent properties.

16 : Woods, L., & Jacobson, C. (2015). Slow manifesto Lebbeus Woods blog.

New York: Princeton Architectural Press.

The character of the material gives it an aesthetic that should

be left exposed. The integrity of structure meant that the built, i.e. whatever held the building up was to be kept clearly visible as a part of its form. This preserves the reality of the building.

This idea of such an integrity offers coherence to the building just

like the machine or the human body. These parts should work like a system, holding all the parts together in synchronization with

each other. Each part already has its own integrity, that will trigger the integrity of the system. Thus, the goal of design results into an overall synthesis of the built environment, that is achieved not

through joining parts of the building, but should be established at the beginning of the design process (Figure 38, 39). Architecture -

of buildings, of any construct is anything but a formation of space. Space is a mental construct, devoid of void, but an absence that we cannot perceive. Hence arises a question of space. What

is space? Space is an indication of objects, it is a construct of indications of objects. It is where objects exist, separate from it, but

within it. For us to see objects, it requires space to exist in between. An object occupies space within and around it. That helps it to exist

independently. We do not experience space in its physical sense or in a tangible form. And we must experience it so, to experience its existence. But, what we feel are the constituents of space. Then what is space? Space is a mental construct, an experience

that makes us feel the presence of “being.” A particular space is defined by coordinates as demarcations in the general space, to define boundary in order to point it out or locate it. Hence, a

2.3.2 Ideology

separate space is brought to being by non - physical lines. Space is just what we think it as.

Space has to give different experiences to people. The space

has to be experimental in order to give an opportunity of an experience one has never had before. The experience can be

of any type, undetermined in advance as we would not have encountered such a space before. Such, is the “Light Pavilion,”

that has been designed by Lebbeus Woods in collaboration with Christoph Kumpusch, in China in 2012.

Figure 38

Lost and Found 5 (1973) Lebbeus Woods Sketchbook Ink on Paper

Figure 39

Lost and Found 6 (1973) Lebbeus Woods Sketchbook Ink on Paper

2.3.3 Works

Light Pavilion is the only existing and ever built work of Woods

(Figure 40 - 42). The pavilion is based on and within a threedimensional geometry and the elements that define it do not follow a conventional rectilinear geometry of its architectural

setting. Stairs are supported on the columns and the viewing platforms emerging from within all follow a geometry of dynamic

movements. Visitors are inspired to explore the space, as the

steady solidity is set in motion. The columns that form the structure are illuminated from within. They glow and make the space lively. There are spaces in the interiors that are mirrored. They multiply the illumination and amplify the enclosed spaces to a visual

infinity. These spaces fall in between the traditional architecture and the virtual environments of cyberspace. The pavilion gives

more significance to the physical over the mental. The illuminated light beacon catches attention form across the city. The glowing

structure radiates its changing colors subtly throughout the year. The color change symbolizes the different holidays, times of the day, month and year.

This transforms our scope of an experience and takes it to depths, and this becomes the sole and only function of this built.

It encourages us to explore and encounter new dimensions of experience. Objects, elements, components reveal the presence of light, not the other way round. Light reveals the structure of

human consciousness, activating it. Shape, edge, texture, color, shadow, highlight, each one effectively enables the brain to

make the most minute differences, thereby inspiring the human experience, enriching it with a richness and a defining complexity.

2.3.4 Effects

Light is the central perception of all. Architecture reveals the presence of light and in turn light helps highlight the materiality,

structure and aesthetic quality of architectural space. With light, also comes darkness and it is not just the absence of light that it is.

Rather, darkness is a product of light. We live in a world that exists

with a contrast of the two. The two share a dialogue of endless

gradations. They set the ground-tone for human condition. Lebbeus Woods aptly executed this in the unconventional space making and setting of the pavilion.

Figure 40

The Light Pavilion (2013) Lebbeus Woods Iwan Baan Photograph

Figure 41

The Light Pavilion (2013) Lebbeus Woods Iwan Baan Photograph

Figure 42

The Light Pavilion (2013) Lebbeus Woods Iwan Baan Photograph

2.4.1 | ANALYSIS A-01 : Works of Kazimir Malevich

Abstract art doesn’t contain recognizeable objects, so there is nothing to grasp or hold onto. ... The truth is, abstract art is not “about nothing”. At its basis, it is about form, color, line, texture, pattern, composition and process.

Figure 43

The Black Square (1915) Kazimir Malevich Tretyakov Gallery Oil on Canvas

The black square by Malevich (1915) has been the epitome of Suprematism. It was first displayed at the “red corner” - a corner space in a room, which is a sacral spot according to the Russian

religion. Red means “beautiful” in Russian. The black was painted instead of red, depicting a zero color. The black square seemed

like an infinite hole leading to an eternal darkness, amidst purity, i.e. the white color forming the boundary. Depicted so beautifully,

this symbolizes the construction of destruction, meaning all

beings will be submitted to death in the end. The black square has been depicted as the best work of Suprematism, an intelligible representation of zero.

ANALYTICAL PARAMETERS Volumetric Elements : None

Planes and Surfaces : 01 positive Intensity of Lines : None

Number of Overlaps : None Superposed Elements : 01

Other Relationship : Proportionate Centrality Colors Used : White and Black Proximity : None

Objects : Square 70

Composition : Centric

Diagram 01

The Black Square - Analysis

This artwork outlined the strong foundation for Suprematism. The well crafted symmetrical black is a result of a mixture of different

color pigments, amidst a white depicting purity. The black square

symbolizes an infinite space, one that gives the experiences of

different layers, as one unravels through the different colors that helped form it. Depicting a strong contrast of black and

white, nearly in the same proportions, this square is a paradox. This layering might depict the different forms of life leading to

nothingness in the end. Towards the end one experiences purity, as the whole canvas (universe) becomes white - Pure.

Figure 44

Aeroplane Flying (1915) Kazimir Malevich Museum of Modern Art Oil on Canvas

â&#x20AC;&#x153;Aeroplane flyingâ&#x20AC;? is a Suprematist artwork under the Futurist influence by Malevich. He had been fascinated by the possibilities in flight like the Futurists. This is a depiction of a landscape seen possibly from an airplane. The different colored masses are

representations of buildings that are floating in the white space

of the canvas. They seem to be in harmony with each other, connected by a magnetic force or an energy, a solid architectonic composition. This artwork can be viewed from different angles,

as there is no boundary to it, just infinite space. The yellow and

black strongly contrast one another, while the blue and red act

as visually dynamic components. Hence, by not representing the airplane in flight also, Malevich represents the airplane flying in air in an abstract way. The sensation of flight is felt.

ANALYTICAL PARAMETERS Volumetric Elements : None

Planes and Surfaces : 13 positive Intensity of Lines : None Number of Overlaps : 1

Superposed Elements : None

Other Relationship : Linearity

Colors Used : Red, Yellow, Blue and Black Proximity : Very Close

Objects : Quadrilaterals 72

Composition : Centric

Diagram 02

Aeroplane Flying - Analysis

A view from an airplane, thousands of feet above ground level,

this artwork represents buildings/ structures/ elements in plan. The spaces formed in between are like paths. The red rectangles break the overall diagonal grid penetrating through the yellow

mass. It offers a contrast in mass (form) and color (function),

with dedicated zones to particular purposes. A system binded by strong culture and ethics, one with enough space for circulation. A system which is not restricted by form, but still has an unforced linearity that enforces planning.

Figure 45

Self-Portrait in Two Dimensions (1915) Kazimir Malevich Stedelijk Museum Amsterdam Oil on Canvas

This Suprematist composition is a self portrait of and by Malevich.

The black square is placed at the central axis vertically. Aligned to the left side of square below, is the face depicting the eye as

a ring and the yellow rectangle as the nose. The blue in contrast to the black depicts the clothing or an accessory. If the artwork is

turned clockwise at 90Â°, the composition takes the form of a dog,

where the black square forms the body and the blue quadrilateral

forms the mouth. The small brown square gives closure to the face and the yellow rectangle becomes the ear. Thus, the

Suprematist compositions offer multiple meanings on looking

form different angles. This dynamism and ability of perception is the comprehensive ability of Suprematists.

ANALYTICAL PARAMETERS Volumetric Elements : None

Planes and Surfaces : 06 positive and 01 negative Intensity of Lines : None

Number of Overlaps : None

Superposed Elements : None Other Relationship : Face

Colors Used : Brown, Yellow, Blue and Black Proximity : Adjacent and Close

Objects : Square, Rectangle, Ring and a Rhombus 74

Composition : Centric

Diagram 03

Self - Portrait in Two Dimensions - Analysis

This abstract composition depicts various meanings, on viewing from different sides. The contrasting Isosceles Trapezoid facing

the composition balances, but breaks the grid diagonally. Two groups of shapes and the dominating black square seem like they

are held by the ring in between at a pivot point. This composition offers us different perspective of the same space, in a way that the space can be multipurpose, with a strong pivotal center that acts as the cardinal point in the vicinity.

Figure 46

Suprematism with Eight Rectangles (1915) Kazimir Malevich Museum of Modern Art Oil on Canvas

“Eight Red Rectangles” by Malevich (1915) is part of the colored dynamic phase of Suprematism, the second of the three phases. The juxtaposition of the rectangles depicts the slight tilt in every

rectangle in relation with each other. Each form is of a different size and it seems like it is floating in space or maybe afloat in

an abstract way. The canvas is the infinite space. Malevich’s

fascination of aerial photography is evident in this composition.

The red tones have a subtle color difference too. The subtle proximity of each rectangle to the other infuses an energy in the composition. The proximity increases with the decrease in size of the rectangles, establishing a contrast. The composition seems to be in motion.

ANALYTICAL PARAMETERS Volumetric Elements : None

Planes and Surfaces : 08 positive Intensity of Lines : None

Number of Overlaps : None

Superposed Elements : None

Other Relationship : Directional Movement Colors Used : Red

Proximity : Very Close Objects : Rectangles 76

Composition : Downward Directional

Diagram 04

Suprematism with Eight Rectangles - Analysis

The composition consists of eight rectangles of different sizes, tilting slightly towards and against each other in the diagonal axis where they all seem to be moving towards. A strong repulsive

force seems to be separating them apart. The masses seem to

be in motion and are in the process of uniting to form a combined unit. Graphically contrasting, but a monotony, this composition offers a dynamism that can be used spatially. These elements can exist individually, co-exist and also work as a system.

Figure 47

White on White (1918) Kazimir Malevich Museum of Modern Art Oil on Canvas

“White on White” (1918) is the final Suprematist composition depicting transcendence. The square transforms into purity, into

a zero of form. The drawing depicts the white square which will soon fade to infinity, leaving behind no color and no form. The

white represents the communist ideals which are perceived as an expression in the creation of a new world, one that is free

from the material and leads to the spiritual. The rich texture of the white showcases the ingenuity of Malevich’s understanding of form and color.

ANALYTICAL PARAMETERS Volumetric Elements : None

Planes and Surfaces : 01 positive Intensity of Lines : None

Number of Overlaps : None Superposed Elements : 01

Other Relationship : Directional Rotation Colors Used : White

Proximity : Very Close Objects : Square 78

Composition : Off - Centric, Up - Right

Diagram 05

White on White - Analysis

The archetype of purity, this tilted square demarcates the â&#x20AC;&#x153;Supremaâ&#x20AC;? of art. An art of compositions (construction),

architecture (structure) and all applied arts. The tilted square is off-center from the center of the canvas. This depicts the

presence of the square which is a form just like the black square,

the only difference being that this is the end of all beginnings and the black square was the beginning of a new age. To achieve a zero of form and hence a zero of space, to lead to a supremacy.

2.4.2 | ANALYSIS A-02 : Works of El Lissitzky

Figure 48

Beat the Whites with the Red Wedges (1920) El Lissitzky Municipal Van Abbemuseum, Eindhoven Lithography on Paper

“Beat the Whites with the Red Wedges,” (1919) is Lissitzky’s initial

attempt of propagandistic art. This artwork was made in support

of the Russian Soviet Federative Socialist Republic Red Army, who fought against the Bolsheviks of the Marxist Russian Social

Democratic Party. The red triangle, more like the shape of a wedge is shown penetrating into the white circle. This represents the Red Army attacking the Democrats. Black represents the field of war

i.e. the negative space created in the artwork. There is a drama in the color contrast and the forms appear to be in synchronization

with each other, with a raging energy. The piercing point of the wedge attacking the curved wall of the communists. Typography

is also color coded, representing each party. Other tiny projectiles are in motion floating in the black.

ANALYTICAL PARAMETERS Volumetric Elements : 03

Planes and Surfaces : 12 positive, 12 negative and 04 words Intensity of Lines : None

Number of Overlaps : 04

Superposed Elements : 01

Other Relationship : Russian - American War Scene Colors Used : White, Black and Red Proximity : Very Close

Objects : Triangles, Circles, Rectangles. Prism and Cuboids 82

Composition : Centric

Diagram 06

Beat the Whites with the Red Wedges - Analysis

The artwork depicts a war scene between, with a play of the

positive and the negative. Through basic geometrical shapes,

a scene has been shown in motion, where the pointed triangles are about to attack the circles. Tiny projectiles have also been

shown as smaller fights are also continued. The negative spaces

are balancing the contrasting red, and as a whole the starkness

of red subdues the vast area of the white. The black war base is shown to be swallowing the Democrats.

Figure 49

Proun 1E (1920) El Lissitzky Museum of Modern Art Lithography, Gouache, Ink and Pencil

“Proun 1E,” consists of a central focus on the black square. The square is embedded in a white circle, referring to “The black square” by Malevich. Connected to the square are rectangular

forms that symbolize pathways leading to it. Enclosing the diagonally opposite corners of the black square are cuboidal forms that try to form a semi - open space. The only contrasting

elements are the yellow diagonal rectangles that contrast to the color and overall geometry of the artwork. Lissitzky is shifting to

Non - Euclidean geometrical spaces. A speculation of a newer dimension of spaces.

ANALYTICAL PARAMETERS Volumetric Elements : 11

Planes and Surfaces : 07 positive Intensity of Lines : None

Number of Overlaps : 07

Superposed Elements : 21

Other Relationship : Space Making Elements

Colors Used : White, Black, Brown and Yellow Proximity : Very Close

Objects : Square, Circles, Rectangles, and Cuboids 84

Composition : Centric

Diagram 07

Proun 1E - Analysis

A semi open space is represented in the above composition. Superposed on a circular flat plane, three pathways (on two axes) terminating at the central black square, in which other elements

are embedded. Enclosing on the corners, spreading towards to sides are three structural units. The three dimensional objects

seem to be guarding and securing, rather forming the black square. The circle defines a different space that is being formed, one which is different from the outer world, as the paths change colors. It is a radical site, with its own set of rules.

Figure 50

Veshch, no. 3 (1922) El Lissitzky Museum of Modern Art Letterpress

“Veshch, no. 3” is a poster designed by Lissitzky for the Russian art and culture magazine. The words translate as, “for us, art is

nothing other than the creation of new objects.” It was published in May 1922, but was banned due to its socialist ideology. The fonts

used are of a constructivist nature and the overall composition is based on simple geometrical shapes and thin rectangles. The graphic is designed as a Suprematist artwork with constructivist influence.

ANALYTICAL PARAMETERS Volumetric Elements : None

Planes and Surfaces : 17 positive and 03 negative Intensity of Lines : None

Number of Overlaps : 07

Superposed Elements : 08

Other Relationship : Graphical poster with Lettering Colors Used : White, Black, Brown and Yellow Proximity : Very Close

Objects : Circle and Rectangles 86

Composition : Diagonal Linearity and Contrast

Diagram 08

Veshch, no. 3 - Analysis

This typographical poster is formed by the overlap of a diagonal

grid on a horizontal - vertical grid. The bold fonts used are geometrical shapes. The typography is fused and inscribed with the central diagonally mirrored ‘L’ element. Thinner intensity of lines make up the no. ‘3’ which is framed in the right separately, giving it its own significance. The circle here, seems to be the

pivotal point of the graphic. The lines cutting the ‘L’ form the frame for the no. ‘3.’ Diagonally on the top is labeled, the location and year of the poster.

Figure 51

Proun 8 (1920) El Lissitzky Museum of Modern Art Lithography, Gouache, Ink and Pencil

â&#x20AC;&#x153;Proun 8â&#x20AC;? clearly focuses on the central black circle. The circle

creates a stark contrast with the canvas and elements around

in both color and proportion. The circle provides an illusion of it

being a sphere captured in the frame of a thin rectangle. One

more rectangular frame pierces through the circular form. Two cuboids in motion seem like they are in flight and are passing form behind the circular form. Part of the system is in motion and

somehow the front system of the frames and the circular form seems to have been stagnant but still in motion in the infinite canvas.

ANALYTICAL PARAMETERS Volumetric Elements : 02

Planes and Surfaces : 01 positive

Intensity of Lines : 02 Equal and Thin Number of Overlaps : 04

Superposed Elements : None

Other Relationship : System in Motion

Colors Used : White, Black, Rust and Off - White Proximity : Binded

Objects : Circle, Rectangular Ribbons and Cuboids 88

Composition : Contrast

Diagram 09

Proun 8 - Analysis

This Proun is like a machine. The horizontally tilted rectangular ring

is passing through the black circle, through which another vertical rectangular ring is piercing. The big cuboid, just adjacent to this

system seems to be too close in proximity. The smaller cuboid is a little distant, but the whole system seems to be pivoting around the vertical central axis of the circle, in motion. Dynamic systems like these can form architectural machines within which multiple

tasks can be performed. The black circle can also be a squeezed sphere. The system is floating in air, revolving freely.

2.4.3 | ANALYSIS A-03 : Works of Lebbeus Woods Abstract art doesn’t contain recognizeable objects, so there is nothing to grasp or hold onto. ... The truth is, abstract art is not “about nothing”. At its basis, it is about form, color, line, texture, pattern, composition and process.

Figure 52

Conflict Space 1 (2006) Lebbeus Woods https://lebbeuswoods.wordpress.com Crayon on Canvas

This drawing belongs to the “Conflict Space” series of the

experimental drawings of Lebbeus Woods. Woods desire to make the drawings as big as the scale of the room was to exaggerate the conventional to the architectural scale. The size of these drawings is 74” x 120”. Woods wanted a person to feel a different kind of an experience while standing in front of it. The lines, surfaces

and textures are explored with different intensities ranging form

light to heavy and thick to thin. The canvas has been painted in an acrylic dark gray and on top of that Woods has performed the

construction of the drawing with a water-based white crayon. Exploring linearity even in projection of curves, Woods exclaims the line to be a positive element on drawing it. A spatial continuity is achieved, with each element offering its own individuality and

discontinuity. These drawings offer the differences in radical similarities.

ANALYTICAL PARAMETERS Volumetric Elements : 07

Planes and Surfaces : None

Intensity of Lines : Unequal and Open-ended Number of Overlaps : Multiple

Superposed Elements : Multiple

Other Relationship : Converging and Coinciding Colors Used : White on Black Proximity : Binded

Objects : Multi-directional Lines and Open-ended Polyhedrons 92

Composition : Contrast and Linearity

Diagram 10

Conflict Space 1 - Analysis

Polyhedrons of different sizes and proportions float amongst dense

lines and line segments, a scale of the proportion of the human scale. The point was to create the experience of a building in the drawing. The sparse lines are like the â&#x20AC;&#x2DC;matrix,â&#x20AC;&#x2122; an environment with its own ethics, morals and cultural development. Each element is aligned with its own axis, a universe in motion. This universe is a

matrix. The polyhedrons are developing from the two dimensional matrix. It establishes a higher order of geometrical synthesis.

Figure 53

Conflict Space 4 (2006) Lebbeus Woods https://lebbeuswoods.wordpress.com Crayon on Canvas

This drawing belongs to the “Conflict Space” series of the

and textures are explored with different intensities ranging form

light to heavy and thick to thin. The canvas has been painted in an acrylic dark gray and on top of that Woods has performed the

discontinuity. These drawings offer the differences in radical similarities.

ANALYTICAL PARAMETERS Volumetric Elements : 11

Planes and Surfaces : 12

Intensity of Lines : Unequal, Open-ended with Thick Highlights Number of Overlaps : Multiple

Superposed Elements : Multiple

Other Relationship : Converging, Coinciding and Bilateral Groups Colors Used : White on Black Proximity : Binded

Objects : Multi-directional Lines and Polyhedrons 94

Composition : Contrast, Linearity and Fulcrum

Diagram 11

Conflict Space 4 - Analysis

This universe is a matrix, establishing a higher order of geometrical

synthesis just like the previous one. Here, two different groups

are formed by the dynamic body of elements in motion. They are connected by a two dimensional chain link that overlaps and entangles, it being the only connection between the two

bodies. High Intensity of lines are highlighted in between that push the matrix in the background. A figure ground relationship is established at different levels of dimension and intensity. The

transformation of two dimensional objects to the third dimension is in motion, to lead to a unified Supreme body.

Figure 54

Quake City (1995) Lebbeus Woods Museum of Modern Art Graphite and Pastel on Paper

â&#x20AC;&#x153;Quake Cityâ&#x20AC;? was made by Woods under the San Francisco

project : Inhabiting the Earthquake. Just like the Suprematists Woods questioned the constant application of the Cartesian

grid universally. Woods believed an idea to be superior of all. He provided buffer spaces, after reconstructing ruined and useless

spaces, as an extension for people to inhabit and make their own functions. He sensed the liberation and freedom one needs

post-war. Such conditions and their after effects have been understood by Woods and he has translated them into space.

His approach was based on constructivist and futurist mentality. His parameters for this project included shifting forces and form webbings.

ANALYTICAL PARAMETERS

Volumetric Elements : Multiple Planes and Surfaces : Multiple Intensity of Lines : Unequal

Number of Overlaps : Multiple

Superposed Elements : Multiple

Other Relationship : Machine like Unified-System

Colors Used : White, Off-White and Little Highlights

Proximity : Binded

Objects : Polyhedrons 96

Composition : Centric

Diagram 12

Quake City - Analysis

This conceptual sketch is a representation of one of Lebbeus Woodâ&#x20AC;&#x2122;s reconstruction projects. He has transformed the destroyed city into a strong and unified large space, with a radical structure.

A dynamic form, formed by uneven tessellations, it offers a new perspective to a city that has been destroyed, revokes the culture and morals of the people, and gives them a new ray of hope to

rebuild and begin life with new and interesting functions. A sense of freedom is felt and the will to start anew arises. The sphere and the cube placed in the same composition, but quite distantly, depicts the strong usage of geometry.

Figure 55

Photon Kite, Centricity (1988) Lebbeus Woods Museum of Modern Art Graphite on Paper

The â&#x20AC;&#x153;Photon Kiteâ&#x20AC;? by Woods belongs to his series of Centricity where he explores geometry of forms that are not purely Euclidean. Curvilinear projections and hyperbolic forms forming double and

triple-curvations is what Woods is mostly interested in this series. He has established architecture with the lens of technology

and a bit of surrealism, studying the patterns of life. Portraying a fluidity in the form with a strong construction of objects defies the

conventional style of making. The drawing focuses on a central object that is flying midway in the air, with only a cylindrical tube that connects it to the Earth.

ANALYTICAL PARAMETERS Volumetric Elements : 02 Planes and Surfaces : 05

Intensity of Lines : 01 Curvilinear Number of Overlaps : 03

Superposed Elements : None

Other Relationship : Levitating Body Colors Used : Black and White Proximity : Binded and Close

Objects : Polygons and Polyhedrons 98

Composition : Centric Linearity

Diagram 13

Photon Kite - Analysis

This fluid composition of abstract geometric and futurist non Euclidean forms seems as if it is floating in the air, where the point of contact with the Earth/ ground is through the cable/ cylindrical

tube, a plug-in in the system. To the left, seems a built that has been altered by the space-time continuum, and opposite to it is a spaceship which is getting ready for take off - the system itself. Photon Kite, as the name suggests, the machine carries an

electromagnetic radiation with it, but due to itâ&#x20AC;&#x2122;s zero mass, the system is floating weightlessly in the atmosphere.

Figure 56

Nine Reconstructed Boxes (1999) Lebbeus Woods Museum of Modern Art Polystyrene Models

The â&#x20AC;&#x2DC;nine reconstructed boxesâ&#x20AC;&#x2122; by Woods are polystyrene models that depict the civic architecture of boxy towers. They

stand for an anti-architecture, as they defy the very purpose of

function follows form. These are individual dense zones that arise spontaneously and oddly produce a spatial complexity. Woods has created junctions in between them which are irregular shards

that penetrate into each other. Woods questions the aesthetics and sensibility of such built forms and ones again tries to defy the traditional modernist strategies.

ANALYTICAL PARAMETERS Volumetric Elements : 09

Planes and Surfaces : None Intensity of Lines : None

Number of Overlaps : None

Superposed Elements : None

Other Relationship : Connected by Dense Structure Colors Used : Gray and White Proximity : Binded and Close Objects : Cuboids 100

Composition : Group

Diagram 14

Nine Reconstructed Boxes - Analysis

Diagram 14.1

Nine Reconstructed Boxes - Analysis

Diagram 14.2

Nine Reconstructed Boxes - Analysis

The nine randomly arranged boxes are random built with different

functions, almost of the same volume. They are of the same properties as it shows the current architecture of conventional

buildings. Piercing through it is the radical reconstructed structure that breaks the monotony of the form and function, both. The

penetrating geometry flows through each cuboid, breaking

it down, but making it more unified, strong and a structurally

integrated system. It is a construct that rethinks architecture, function and human lifestyle.

101

Figure 57

Meta-Institute (1996) Lebbeus Woods https://lebbeuswoods.wordpress.com Chipboard, Wood and Paper

This is the model of â&#x20AC;&#x2DC;Meta-Instituteâ&#x20AC;&#x2122; by Lebbeus Woods that he has

proposed for Havana, which has a vibrant culture and an unstable

political history. Woods proposes an institution for the study of

the way of practice and the core idea of institutions themselves. Woods aims at developing and reforming the institutions wherein

the meta institute provides a set of rules, principles and practice that sets base and example for other institutes. In this way, they can continuously revise and refine themselves. This institute in Havana is dedicated solely to understand the urban terrains and

the paradoxical landscapes of the city that manifests the forces of change of natural and human dynamic.

ANALYTICAL PARAMETERS Volumetric Elements : 05

Planes and Surfaces : 15 positive

Intensity of Lines : 10 Thick and 03 Thin Number of Overlaps : None Superposed Elements : 05

Other Relationship : Institute Colors Used : Red

Proximity : System

Objects : Polyhedrons 102

Composition : Binded Structural Centricity

Diagram 15

Meta-Institute - Analysis

An institute for institutes - The Meta-Institute. The institute seems to be fragmented into two main parts. The cuboidal base from which elevates the reconstructed structure. The central structural members hold the upper mass. It seems like webs which are formed when two masses are separated form one, having cross-

link fabrication. The linear members bent at a small angle to

allow minimal bending hold the two masses. Such, a multilayered (form and function wise) structure with multiple openings will

serve as a built that teaches to teach. It is the fundamental of the fundamental itself.

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3.1 | BUILT

3.1.1 Follies at Parc de la Vilette 3.1.2 Holocaust Memorial 3.1.3 The Band of Peace 3.1.4 Megaliths

104

105

3.1.1 Follies at parc de la Vilette

“Project of the 21st Century” - this grand project was intended to reinvent the concept of the park, the way it is experienced socially

and culturally. The conceptualization and execution for this project

was made into a competition that consisted of several entries from various parts of the world. Bernard Tschumi produced the winning entry for this project that offered an opportunity of landscape as

architecture, an engineered abstraction. Tschumi describes the

park to be a composite of three autonomous systems, namely - “the system of objects”, “the system of movements” and “the system of space” (Figure 58). These systems reflect in the parks

organizational structure of points, lines and surfaces, across an orthogonal grid, oriented with the Canal d’Ourq. These elements are referred by Tschumi as programmatic systems.

“La Vilette, then, aims at an architecture that means nothing, an architecture of the signifier rather than the signified - one that is pure trace or play of language.” - Bernard Tschumi (1984:203)

3.1.1 Follies at Parc de la Vilette

Points : The system of points in relation to the system of objects

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demarcates the organizational grid, with bright red follies,

each at a distance of 120m. Each follie has been reformed and deconstructed from a cube (10m x 10m x 10m). Each point where the follie is placed acts as a point of intensity that allows for maximum movement and circulation throughout the space. (Figure 59). The enclave of follies are meant to be symbolic and

possess a unique form. The forms are of constructivist nature with an undifferentiated red color that makes the fragments as part of a whole. Function supersedes form. Tschumi describes these

follies as structures and not buildings, defining its significance as just mass and volumes. He refuses to have introduced any kind

of picturesque effects in contrast to which the whole structure is a visual picturesque - the bright red monotony, the unique forms and unconventional functions. Thus, the word “follie” showcases multiple meanings, suggesting an anti-landscape or anti-park.

Figure 58

Points, Lines and Surfaces in Tschumiâ&#x20AC;&#x2122;s design (1986) Bernard Tschumi Architects Joey Donovan - Deconstructing La Vilette 3D Exploded Drawing

Figure 59

Deconstructing the Program (1986) Bernard Tschumi Architects Joey Donovan - Deconstructing La Vilette Distribution Diagrams

107

3.1.1 Follies at Parc de la Vilette

Figure 60

Transformation and Creation of La folie (1986) Bernard Tschumi Architects Joey Donovan - Deconstructing La Vilette Distribution Diagrams

108

Figure 61

Axonometric of La folie (1986) Bernard Tschumi Architects Museum of Modern Art Pen, Ink, Gouache, and Airbrush on Paper (373/16 x 375/16)

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Lines : The system of lines in relation to the system of movement is represented by two covered paths, each 5m wide. One path is

perpendicular to the canal and is oriented north - south, linking two metro stations. The second path runs along the length of the

canal incorporating an aerial walkway. An undulating canopy acts as a covering for both the walkways (Figure 62). The part of

system of lines expands to the landscapes that do not correspond to the orthogonal grid, but rather form a planned circuit that flows

3.1.1 Follies at Parc de la Vilette

through the park, interacting with the â&#x20AC;&#x153;threesâ&#x20AC;? of systems.

Diagram of Figure 63.1, 63.2, 63.3 Plan of Parc de la Vilette (1986) Bernard Tschumi Architects Evolution of Landscape Geometry

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Figure 62

Illuminated Undulating Canopy of the North-South axis (1986) Bernard Tschumi Architects Joey Donovan - Deconstructing La Vilette Photograph

Figure 63

Plan of Parc de la Vilette (1986) Bernard Tschumi Architects Joey Donovan - Deconstructing La Vilette Ink on Paper

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Surfaces : The system of surfaces corresponds to the system of space, which is the final programmatic structure of Tschumi’s programmatic systems. He describes the surface of the park with a large expanse of space that carries all kinds of informal

activities like games and play. It is like a playground composed of

compacted

earth

and

gravel

allowing

for

complete

programmatic freedom. To this aspect of rawness, it reveals an “unresolved” expanse of horizontal surface.

Thus, a deconstructivist approach of architecture and abstraction

led to the conceptualization and execution of Parc de la Vilette. Structures built with an underlying grid and geometry are nothing but abstract masses housing functions that change periodically. When looked at graphically, the plan of the park looks like a

Constructivist painting. In his readings on la Vilette, Tom Turner

explores the Russian avant-garde resemblance in the follies. Not only, is it a derivation of constructivism, but the similarities in aesthetics and program correlates with the Suprematist

interpretation of space in the follies (Diagram xx). The boldness

3.1.1 Follies at Parc de la Vilette

and abstraction of color and form, temporary functions and

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fundamental use of geometry correlate with the principles of Suprematism. The park exists today as an exciting and vibrant

example of landscape architecture. It has changed the idea of how public spaces like parks should be, as there exists no “should be”. It has opened gates for what this “can be”. A park that can be

more than an expanse of green space, an active zone of various cultural activities absorbing the changes that take place with time. The park is a radical reconstruction of the past function

that was a combination of cattle market and abattoir. Referring

to the triad of Lebbeus Woods - radical sites to transform form, methods to dissolve cultural differences and morals and ethics of

the people that bring the active functions to life in the structures and the open spaces. This opens new pathways towards a new making and seeing of the space, by reinventing perception.

Diagram 16

Constructivist Represenation of Parc de la Vilette - Drawing

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3.1.2 Holocaust Memorial

“Superimposition refers to a vertical layering differentiating between ground and figure. Superposition refers to a coextensive, horizontal layering where there is no stable ground or origin, where ground and figure fluctuate between one another.” - Peter Eisenman, Diagram Diaries (London: Thames & Hudson, 1999): 29.

The (Holocaust) Memorial to the murdered Jews of Europe

portrays the metaphysics of presence. The idea of presence is not presence alone, but it is the sign of presence. The memorial

to the Jews indicates just the representation of presence of the Holocaust, it does not replicate or duplicate the event. The

experience an individual has in the memorial is the “affect”

(Figure 65) and the Old Jewish Cemetery being an “effect” (Figure 64). The memorial can be described in terms of “sense” rather

than “meaning”, due to its articulation as a grid and geometry, rather than signs, icons, texts and symbols. Eisenman has been inspired by Gilles Deleuze’s figure/ground principle that offered

him the possibility of developing a “radical passivity”, as a new design strategy in the memorial. The memorial is an interpenetration of time and architecture that have been overlaid

3.1.2 Holocaust Memorial

onto the topography of the site and the pillars of the grid. Over 2711

concrete stelaes lie within the two floating grids. The logic behind

this is a realization Eisenman had about cultivating experiences for people in an architectural environment. The way one will react to the space - the affect.

“So I’m looking for those conditions in architecture which are like the music in film, which are secondary. This is very different from linguistics because I’m looking now within architecture to find out how architecture communicates at a less than primary level, at a more somatic, a perceptive way. You know, environments have an effect, like this room: we look at the room and maybe it says nothing. We can use it, it still functions, we can sit, we can talk, we can see out.” - Chiara Visentin, ‘Interview with Peter Eisenman’, 2004.

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Figure 64

Old Jewish Cemetry, Prague (1786) Stefano Corbo Photograph

Figure 65

Holocaust Memorial with Peter Eisenman, Berlin (2014) Klaus Frahm, Hamburg Photograph

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To relate architecture with time, Eisenman designed an interior

landscape showcasing a difference between homogeneous time and time as duration. What Henri Bergson defined as “Duration” is

time which cannot be measured as the moment vanishes, the moment it is tried to be measured as it is a moment. That time

can only be comprehended via imagination. Hence, there arrives a difference between “pure time” and “mathematical time”. Time

is hence immeasurable and what Eisenman has tried to achieve

is an interaction of the spatial effects and at the same time them merging into a singular, incongruous, and undulating landscape. Eisenman describes it as an internal vortex of space (Figure 66).

“Percepts are no longer perceptions; they are independent of the state of those who experience them. Affects are no longer feelings or affections; they go beyond the strength of those who undergo them. Sensations, perceptions and affects are beings whose validity lies in themselves and exceeds any lived. They could be said to exist in the absence of man, because man, as he is caught in stone, on the canvas, or by words, is himself a compound of percepts and affects.” - Gilles Deleuze and Félix Guattari, Che

3.1.2 Holocaust Memorial

cos’é la filosofia? (Torino: Einaudi, 2002): 164.

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Here, the sensation, perception and affect are being seen as entities that hold meaning by themselves and are not altered

along with the human emotions or perceptions. In contrast to

this the experience that one has on a visit to the memorial is very intimate and personal. The time of the day and month visited

alters the experience of the visitor (Figure 67). Such is the paradox of the space. The memorial translates the theory of Bergson

into having its own time and the time of the experience which

is distinguished, where memory is a nostalgia of the Holocaust, not a means to observe. Eisenman also altered Gilles Deleuze’s

idea of superposition. The memorial is based on interactive layers of superposition. The undulating grid is a result of the site’s topography and the urban fabric of Berlin.

Figure 66

Aerial View of the Holocaust Memorial, Berlin http://www.landezine.com/wp-content/uploads/2010/03/holocaust-mahnmal-01.jpg Photograph

Figure 67

Holocaust Memorial, Berlin (2014) Klaus Frahm, Hamburg Photograph

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Each stele is about 2.375m x 0.95m, ranging form 0 - 4m in

height. This creates different gradations of intensity within these

interstitial spaces. There appears a unitary pattern if viewed form the outside, but the stability and rationality of the monotony disappears on the inside as the in-between spaces deform. The memorial also houses a 800m2 exhibition room beneath it, designed by Dagmar Von Wilcken (Figure 69).

The memorial seems to be clearly inspired by a certain concept

and minimalism that leads it to be a gigantic sculpture or an installation fragmented into grids (Figure 68). It is more like an “antimonument” according to Spanish theorist Josep Maria Montaner.

The memorial being linear and grid based, still establishes a chaos and a disorder. The contrast is also held by the smooth space and the in-between striated space. According to Pierre

Boulez, the smooth space is “nomos” and the striated space is

“logos.” The smooth space portrays a continuous variation and has fused in it a melodic harmony. On the other hand, the striated

space is a combination of horizontal lines of melody and vertical

planes of harmony. Thus, the memorial has been regarded as a memory that re-invents perceptions and makes a new history of

3.1.2 Holocaust Memorial

what existed. Eisneman thus, proposes an alternative version of

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the notion of superimposition. Looking at this, the radical passivity

of an abstraction emerges. Looking critically at the geometricity and the radical approach to the idea of a symmetry without

the essence of one is a striking contrast of the architect and

architecture. The principles of Malevich and Woods superpose here, leading to a new idea of superimposition of cultures and

architecture. A higher virtue of time and a reflection of pure

idea based on interwoven perception provokes a sensation. A dynamism strikes while passing through the memorial, despite

the broken monotony. In reference to Lissitzky’s irrational space, this is a space - time fusion, a beginning of an experiential space which is sacred in its aesthetics, is not human - centric, evokes a nostalgia, shifting the paradigm of form to purity.

Figure 68

Holocaust Memorial, Berlin (2014) Klaus Frahm, Hamburg Photograph

Figure 69

Holocaust Memorial Museum, Berlin (2014) Stiftung Denkmal Photograph

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3.1.3 Band of Peace

The Band of Peace signifies an array of 22 Pyramids that stretches

along from North to South of Egypt, matching the shape of the river Nile. The Great Pyramids have been the marvel of construction. Their pure mathematical geometry, alignment to the stars, their purpose and their meaning have left humans

spiraling in finding ways and meanings to justify their existence.

The ancient civilizations had precise knowledge about the stars, the earth, and the nature surrounding us. The Pyramids have

been argued to be inter-dimensional portals, energy generators, ancient observatories, tombs etc. Mastabas and the early burial customs saw rectangular pits that were constructed below

the Pyramid superstructure, divided into 5 compartments for

different purposes. The Pyramids developed to step-pyramids, the first for the burial of “Zoser” - an ancient Egyptian pharaoh

of the 3rd dynasty. The Pyramids then transformed to their true

form, one with a square base and sides sloping down. It started being built for the last Pharaoh of the 3rd dynasty - “Meidum”. The

Pyramids were built from the local fine quality, smooth facing

Tura limestone. The Giza group was built in the 4th dynasty, by the son of Pharaoh “Seneferu” - “Khufu”.

The Great Pyramids of Giza (Figure 71) are located North of Egypt.

There are three Pyramids, varying in size (decreasing order from

3.1.3 Band of Peace

top to bottom) and color (then). The Pyramids are arranged in a way that they mirror “Constellation Orion”, which is mythologically

associated with the Egyptian God “Osiris” (Figure 70)- who is the

God of life, death, and afterlife. The Sphinx is located roughly 1.5km away from the Pyramids in such a position that it is looking directly at the Orion Constellation - at the lowest point in the

Northern sky. The Great Pyramid or the proportionately biggest Pyramid has transformed to the perfect geometrical shape of the Pyramid in relation to the previous ones. The total area covered by the Great Pyramid alone is 13.1 acres, with a height of 481.4 feet.

Its chambers and corridors are arranged in conjunction with the structural development.

120

Figure 70

Standing Osiris Painting Jeff Dahl Photograph

Figure 71

The Great Pyramids of Giza Mark Cartwright, Creative Commons: Attribution Photograph

121

The entrance is in the North face, towards a downwards ramp, that leads downwards to a chamber and an ascending corridor

(Diagram xx). Discontinuing at the corridor, it also diverges upwards towards the grand gallery and below it to the Queen’s

chamber. The grand gallery leads to the King’s chamber. These

chambers housed different varieties of food, jewels, clothing and various other items one would need to sustain and live. This was

because of the strong belief of the Egyptians in afterlife. These

monumental tombs were hence, filled with things each ruler would

need to guide and sustain himself in the next world. The second Pyramid of Giza was built by Khufu’s son, Pharaoh “Khafre”, another

tomb complex. Khafre also built the Sphinx, which is a limestone monument with the body of a lion and the head of a Pharaoh,

built as a soldier guarding and overlooking the Pyramids. The successor to Khafre was Pharaoh “Menkaure” who built the third

Pyramid which is relatively the smaller one. It houses a mortuary temple which is much more complex than the other one.

The tombs were not only morgues to store bodies, but quite beyond that. It was not only about death, but about the way the Egyptians lived. These decorated tombs encompass art, inscriptions and

texts which are inclusive of their language, grammar, paintings of

their fields, farms, burial practices, carpentry, and their way of life. The stones that build up the Pyramids have higher conductivity

3.1.3 Band of Peace

properties. The outer casing stones of the Pyramids varied in color

122

with the difference in size. The Great Pyramid was white, the second one was red and the third one was black. These casing stones had a higher insulating capacity. All three Pyramids were built by

different rulers, hence the color variation can be a possibility for significance or maybe a higher form of understanding of color

and geometry. These Pyramids have been built on aquifers, which are rocks containing groundwater. Hence when any

source of electricity transmits current to the Pyramids, electricity is generated. It was said that the Pyramids used to glow when completely sound structurally (Figure 72).

9 7 7

5 1

| INDEX

1 2

3 4 5 6 7 8 9

Entrance to the Descending Corridor Unfinished Subterranean Chamber Ascending Corridor Grand Gallery

Queen’s Chamber Unfinished Shafts Shafts Leading towards the King’s Chamber Shafts Leading to the Descending Corridor King’s Chamber

Diagram 17

The Great Pyramid Cross Section (looking west) - Drawing

Figure 72

The Giza Region Ancient Code Abstract Render

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Hence, the Pyramids were built for a purpose which is difficult to

comprehend. A lot of possibilities are known, but them existing together and for what purpose is still unknown. The Pyramids

were built by men who would have excess strength who would

carry these heavy stones in boats made up of wood, from a nearby quarry. The workers would wet the sand and this is how the boats would slide. These heavy boats were their only means of transportation (Figure 75). They imagined themselves to be

achievers of immortality by constructing these monumental sacred structures (Figure 74).

The English Astronomer Charles Piazzi Smyth (Figure 73) is known

for his studies and innovations about the pyramidological studies

of the Great Pyramids of Giza. He claimed that the measurement units he obtained; one pyramid inch is equal to 1.001 imperial

inches. It was 1/25th of the ancient unit of measurement “cubit”.

Thus, the Egyptian architects could have been using this as their standard measurement. He has also extrapolated other units like the “sacred cubit”, “pyramid pint” and the “pyramid scale

of temperature”. He thought that the pyramid inch was a Godgiven measure and that it had a higher significance. Even the measurement correlated to the number of days in an year, and

the height of the Pyramid relating to the distance of the earth

3.1.3 Band of Peace

form the Sun.

Thus, a lot of speculation has had been going on since centuries, but a true meaning hasn’t been found yet. The use of pure geometry

with precise mathematical calculations, the sensitivity of color

and the architectural genius of using ramps has portrayed their knowledge and wisdom about the gift of life and value of supreme

nature. If we compare these structures to today’s ideologies, we

might think of them as the translations of the Constructivism. Their architecture was beyond form and function, where function supersedes form. Such, large structures, were used for a purpose

which is unknown to man today, standing upon the foundations of their belief in afterlife.

124

Figure 73

Charles Piazzi Smyth (1819 - 1900 )

Figure 74

Relief found in Tomb of Giza Werner Forman, GTRES - National Geographic Photograph

Figure 75

Transportation of a Colossus (1879) Litz Collection Drawing

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3.1.4 Megaliths

Space - making dates back to natural cave formations of the “Paleolithic Age” dating back to approximately 25,000 years ago.

After that came the “Neolithic Age,” which is about 10,000 years ago, where humans developed culture and community. They made small shelters that would become present day villages,

which were then part of the tribe that they belonged to. Later came the “Megalithic Age,” before about 8,000 - 9000 years where man started worshiping a higher supreme power (God) in special

places of worship, which were then treated like a community

hub. Since, the Neolithic Age structures started getting built with a purpose in mind which was more than meaning, to reach and achieve something that is beyond. These were less temporary

structures, forms of which were guided by natural stones. These

megalithic structures have made the present question the developments and mysteries held by the past.

Figure 76

Stonehenge, Salisbury, England (3000 - 2000 BCE) BBC 2019 Photograph

Purpose : Stonehenge is a prehistoric monument constructed by the neolithic builders, which initially comprised of 100 stones.

3.1.4 Megaliths

The outer ring was made form Sarsen stones and the inner from Sarsen stones were quarried from about 200 miles from Preseli

Hills in Wales, and the Bluestones were quarried from 25 miles

North of Salisbury plain. Scholars and archaeologists believe this site to be a ceremonial and religious pilgrimage destination, while evidence has been found of it being a burial site to spiritually connect with distant ancestors. Blustones have been speculated

to be magical healers. The site could also have been used as an ancient calendar and an astronomical observatory.

126

Figure 77

Dolmens of North Caucasus (3000 - 2000 BCE) Poprotskiy Alexey/ Shutterstock Photograph

Purpose : These precisely built stone (shaped to fit) house - like

structures have been found to have remnants of jewelry, potter

tools, and bronze equipment. Archaeologists have also found human remains here.

Figure 78

Rujm el-Hiri, Sea of Galilee, Israel (3000 BCE) Vad Levin/ Flickr Photograph

Purpose : This megalith monument is made from over 40,000 basalt rocks. The size of the circles in the center ranges from

8-15 feet. Archaeologists predict it to be an ancient calendar as alignments with summer solstice sunrise have been found. It might have been used as an astronomical observatory.

Figure 79

Taulas of Menorca, Spain (3000 - 1000 BCE) Karol Kozlowski/ Shutterstock Photograph

Purpose : Taulas meaning â&#x20AC;&#x2DC;tables,â&#x20AC;&#x2122; in Catalan are significant for their religious and astronomical purposes. A parallel theory also

suggests these to be a healing center for the Talaiotic people who built them.

127

4.1 | CONCLUSION 4.1.1 A New Process

128

129

4.1.1 Conclusion

“I’m not interested in living in a fantasy world … What interests me is what the world would be like if we were free of conventional limits.

Maybe I can show what could happen if we lived by a different set

of rules.” - Lebbeus Woods: The Architect Who Dared to Ask What If ... (n.d.). Retrieved from https://www.wired.com/2013/02/lebbeuswoods-conceptual-architect/ “The square is not a subconscious form. It is the creation of

intuitive reason. The face of the new art. The square is a living, regal infant. The first step of pure creation in art.” - Kazimir

Malevich Suprematism Manifesto - Suprematism. (1916). Retrieved from https://suprematism.co.uk/suprematism-manifesto/ “The printed page transcends space and time. The printed page,

the infinity of the book, must be transcended.” - Majakovskij, V., Lissitzky, E., & Railing, P. (2000). For the voice / a facsimile of the 1923 Russian edition / Vladimir Mayakovsky and El Lissitzky. London: The British Library Board. A Beginning was established with the birth of the ideals of

Cubism and Futurism, which were further driven to and through

a Process of Suprematist ideals that gave rise to a constructivist spatial framework. It was a Realization to find similarities in the unconventional architectural works and Suprematist ideals of

economy and purity in different radical sites, with strong socio-

4.1.1 Conclusion

cultural backgrounds. This has yielded into a New Age of art and architecture that will lead us to a supreme Meaning of purity.

The core idea of something or someone being unconventional is the disparity in the fundamental on which it/ he/ she is established.

This concept of unconventionality is driven by abstraction. Abstraction is the comprehension of a concept to its core. When

a concept is understood at its core, a true pure meaning and

the reason behind its existence can be known. This can lead to a process of decoding an existing mystery or a new invention.

130

If we understand abstraction to its true core, it accelerates from a

concept to a reality, theoretically initially. This abstraction leads to breaking down of meaning, and searching for something beyond meaning, of what is visible to us in the realm of what we know

to be supreme - nature. Nature is a construct, a paradox which is perceived to be simple, but to reach beyond its meaning, its complex geometry must be understood, in order to take a quantum

leap. It is woven by the abstract science of number, quantity

and space - a concept known to us as “mathematics.” A factor

in reality on which these revolve and spiral around is again an abstract concept of unending quantifiable circumstance, which is known to us as “time.” The overlap of time and mathematical

space governs a matrix - the Universe. Thus, we can consider the

purest known concepts to us as time and geometrical space. We comprehend this through feeling that transforms into sensation.

We comprehend and grow in this environment of physical dimensions which we can see, touch, hear, smell and taste.

This helps us perceive form and this act of perceiving is what becomes our purpose or function. Hence, form and function are not governed by each other, but only by human association. Every

human will comprehend each form and function differently. By

defining each system through the means of emotion and intellect,

infinite forms and functions shall be generated that will turn this space and time into a chaos, one that is random in nature and uselessly complex. Thus, a utilitarian ideology terminates at

failure, and on the other hand a Utopian world cannot exist in this relative continuum. Here, we arrive at a beginning of a system of which human is the cause, geometry and mathematical space is the affect and the new system that will emerge will become the effect, all governed under an abstract time line.

This New Age will mark the beginning of purity, through geometrization of all form and purpose. Dynamism will flow through the construct just like time flows through space.

131

Here we transcend into a metaphysics of space that will lead us to pure Supremacy over understanding nature, hence completely understanding the human being. There will be no death, as each

destruction will lead to a construction. The matrix will transcend from superficial conventional limits to a liberated geometrical

infinity, one which is only bounded by mortality. The purpose of establishing purity will be to elevate meaning, to reach beyond it. Unconventional will be the new convention, hence destroying the

existence of conventional thought. Geometry and sensation shall be the sole ruling parameters of establishing built structure or purpose. Function limits purpose and hence purpose supersedes

function. Purpose is the meaning behind function, and to break

away form function, we must understand purpose to its core and dynamically keep on altering it.

This is a radical change that is the ultima of all transformation. Radicalization happens at a fundamental level, and it becomes of

primary importance. Anything that is radical is considered to be extreme in relativity of conventional ideas. But, we have destroyed

the idea of convention and so the traditional ideas get dissolved

with it. Thus, radical becomes the new traditional, destroying the idea of tradition altogether. This gives rise to a process of supreme

geometry, that will be unconventional and radical in nature in order to achieve purity. This philosophy explains the basis and existence of this New Age. This is a process of design that can

help shape the future world in a better way, by using nature as a

4.1.1 Conclusion

tool and an inspiration. Dynamism and abstraction will never die,

132

but theyâ&#x20AC;&#x2122;ll keep on evolving through time.

Spaces have been built that help support these thoughts.

Architecture and interior design overlap and superpose into

one another at all points in time. Hence, we can consider them under space-making. They form spaces with purposes that can be carried out within and outside. Purposes vary from personal

and public to something that is beyond meaning and mortality.

In the distant past, about a few thousand years ago, man started adopting a lifestyle. As mentioned in the case studies in the previous chapter (3.1 | Built), the ancients were trying to figure out the world around them, its depth and meaning, and all existence, including the self. They had sacred knowledge about space, time

and the supernatural. They quarried large stones form miles away, each weighing a few tonnes, with technology that was in the

stage of primitive development. They worked with full efficiency and made optimum use of their surroundings, without destroying

it. They made shelters, community centers, astronomical observatories, cemeteries, healing centers, powerhouses and life

size calendars, aligned with the position of the stars with perfect calculations and methods. Their methods were not naive, and these built structures were not mere coincidences.

The space making was a thoughtful process keeping in mind sacred beliefs and supreme nature, rather than a temporary

function or a building fascination. Aesthetically balanced, yet

ornamental, their artworks and scriptures have been made part of their interiors. They used space for what their wisdom urged them to make, and not what the function, form or the maker of

the space demanded. Their interiors comprised of large artworks, depicting their way of life, their beliefs and findings, sculptures, their ways of entertainment, food and clothing, precious stones,

copper vessels, storage elements, clay products, burial practices, religious rituals, inscriptions etc., that helped them preserve their precious past. It was their way of recording life for the

coming generations, to make sure the progress they made, their discoveries and inventions, supreme of all - their beliefs.

They superimposed purpose on architecture and interiors. Their purpose was to sustain history, so that it is never erased and does

not hinder their way upwards to achieve purity, and become the supreme form of all existence and beyond. Their knowledge is

coded in the form of unique languages and symbolism, inspired from nature. It is still in the process of being analyzed, even today.

133

In the recent years, great progress has been made in the expanse of all fields known to man. His aim of supremacy remains unchanged. But, his progress has shifted from the path of purity

to materiality, in the course of which he has destroyed the giver of all his needs - nature. The meaning of space making has

shifted from geometry and sensation, to temporary function

and the temporary enthralling beauty of form. To portray his

individual sense of materialistic power, he has gone beyond meaning to destroy meaning. War and money govern the fear in all humans. Amidst this, the avant-gardes stood up in opposition,

to irrationality and materiality. This gave birth to a Constructivist and Suprematist ideology of purity and sensation to achieve

supremacy, in its true form. Unconventional and experimental

forms of space making penetrating the concepts of geometry sprung from these radicals. A new age began to spread amongst

mankind. This new age will revolutionize the core of all fields

and reconstruct what the ancients strongly believed. A radical reconstruction that would be the creation of dynamic, supreme

and pure space. Reconstruction of current ideas and concepts, making them more radical and wise.

Changes should start being implemented in our daily lives. We should look at what our surrounding is offering us. Every possibility that it offers, is involved in our daily life and is known as â&#x20AC;&#x153;affordances.â&#x20AC;? This term has been coined by psychologist James Gibson. It gives us a fair idea about geometry, texture and

4.1.1 Conclusion

dimension of our daily usage, in order to make ourselves more efficient and dynamic. Affordances depend not only on what the environment has to offer, but also on our abilities, patterns of activities, sociomaterial environment and availability of ability.

Our actions comprise of our cognitive and behavioral patterns which have been manifested in our systems with the passing of

time. Environments should be dynamic and changing, not static and sedentary. Here arises an opportunity for the space maker

(architects and designers) to design new affordances, that will 134

Figure 80

The End Of Sitting (2014) RAAAF and Barbara Visser Detail Render

Figure 81

The End Of Sitting (2014) Jan Kempenaers, RAAAF and Barbara Visser Photograph

135

alter the human patterns of action and sociocultural practices. Space making should elevate humanity and accelerate the evolution of mankind. The human body has an infinite capability, but a limitation of time and space. The human brain, varied and

diverse in each individual, can transcend to various dimensions.

For a multiplicity of bodies, space making can create a landscape of possibilities. This can improve our mental and physical health

conditions, which will provide us with a qualitatively better and

longer life. An ideology of affordances can be materialized to create life size models and visions showing of the future. Projects like “The

End of Sitting,” “Breaking Habits,” and “Vacant NL” by RAAAF (Rietveld

Architecture-Art-Affordance) have designed such environments that have offered a landscape of radical affordances which have

the potential to use the underutilized through different tools and techniques from different practices (Figures 80 - 83). “The End

of Sitting” was a conceptual model developed for the office of 2025, where they envisioned a place without tables and chairs, a

place of diagonal free flow landscape, with multiple possibilities of postures. People can work in the ways they want, without any

limitations of way of working. On conducting an empirical study,

the data revealed this landscape to be a more productive, pleasant and healthier working environment. “Breaking Habits”

was another workplace experiment with a diagonal landscape that breaks the unhealthy sedentary way of working. “Vacant NL” was a way to innovate space-making for underutilized spaces. A new affordance plugged into the vacant space can become

4.1.1 Conclusion

an opportunity for artists, architects, governments and private

136

parties. Such sequential temporary programs plugged into

vacant buildings, not only gives a fresh environment to the empty space, but also invokes a dynamism in the vicinity. A whole new perspective can be unfurled by these new affordances.

As a result, affordances can transform and manipulate this sociomaterial environment via the work that it builds, hence providing us with a better and upgraded version of life.

Figure 82

Breaking Habits (2017) Johannes Schwartz, RAAAF Photograph

Figure 83

Vacant NL, installation at the Venice Architecture Biennale (2010) Rob â&#x20AC;&#x2DC;t Hart, RAAAF Photograph

137

5.1 | MEANING 5.1.1 “ma” - The Third Condition

138

139

5.1.1 “ma” - The Third Condition

Adapting to the built environment, we have pioneered a new

age, a new process of space - making via dynamic and radical means, in order to achieve a supremacy and purity. We exist

within the context of space and time. Breaking away from it can

lead us to an absolute truth. We cannot exist outside of space and time and to understand it completely, it needs to be looked form the outside. This gives birth to a paradox which can be solved by understanding the interval in-between - the third condition.

It is man’s mind inside which he resides, through the life of the soul

driven by Samara - a source of life energy and the endless cycle of birth, nonexistence and afterlife. It is a process of reincarnation.

This process can be seen to occur in the physical body and the soul. The soul is trapped in the physical body or uses the body

to sustain and it can only free itself from the body, if it gets out of it. This creates a paradox. The body is like the “Labyrinth” and the soul, the “Pyramid.” The Labyrinth is an outcome of the

aestheticization of eeriness or fear, spatially. It is an ambiguous space where one does not realize whether the space is driving

one away or is creating an enclosure. A space with openings

largely, that confuse the person about his/ her position, whether it is in the exterior or the interior. One can not perceive the Labyrinth

at a single glance and hence one needs to step out of it to understand it. The Pyramid is the way out of the Labyrinth, a path that will guide one to the summit (of ultimate understanding, which can never reached ). This paradox can be surpassed if the

5.1.1 Meaning

condition between the Labyrinth and the Pyramid i.e. the body

140

and the soul (the space-time continuum and the absolute truth)

is known. This is known as the third condition - a condition that

will resolve this multi-fold paradox and will help reach to the depths of experience and sensuality. A condition that can be the

answer to all unknown, a revelation of all curiosity, a meaning to

all undefined concepts, an awakening in its true sense, a path beyond mortality and finiteness.

This interval (the third condition) is manifested in a wide range

of creative and ritual aspects. It is known as “ma” (Japanese term). Also called the “space-time” concept it is regarded as the interval or gap in between any two or more spatial or temporal

things and events. It also has a significance in music, indicating silence between two sounds, that give it consciousness. Ma is the

sense of a place that creates an imaginary blending between two entities, the objective and subjective. In this case they are the

Pyramid and the Labyrinth respectively. Each has its own identity

and ma brings about an augmentation of experiences creating a relationship in-between, while sustaining their individual

identities at the same time. Their coexistence brings each other to existence.

In another sense, the soul and the body bring each other into

existence. Ma orients the process of movement form one place to another, creating an experience that evokes a dialogue with the material and space.

Space-making comprises of an architectural shell binded with an interior space. Ma is the interval in between the architecture

and the interior. It is not a difference, rather an interval of transformation. This interval, when shifts from an intangible

concept to a physical entity, it is found to be the most balanced and pure state of existence. It binds meaning to imagination. The

unseen line or point in between two similar or conflicting identities

is found to be the solution to defining the existence of the entities. Ma is the existence of nonexistence that binds and preserves individual entities of two or more elements in being.

“The most beautiful experience we can have is the mysterious. It

is the fundamental emotion that stands at the cradle of true art and true science.” - Albert Einstein [Einstein, A., & Harris, A. (1949). The world as I see it. New York: Philosophical Library.]

141

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[ Diagrams 1 - 17 and Diagram of Figure 63.1, 63.2, 63.3 are created by the author of this document ]

154

Feedback 22nd January 2019 (Initial Review) Remarks •

Methods and Techniques allowing to study Suprematism, in the context of the mills

•

Drawing differences between the works of K.S. Malevich and Lebbeus Woods. This will

• • • • • • • •

(subject), comprising of abandoned (condition) spaces.

throw light upon the different aspects that connect abandoned spaces with mills.

Studying the mills in detail, in terms of its scale, proportion, history, texture, ruinness, etc., starting to deduce the parameters.

How the methods of Suprematism alter with the “abandonness” of the mills.

Forming a road map of the three aspects. The abandoned spaces, Suprematism through Malevich and Conceptual space making through Lebbeus Woods.

Replacing the term architecture by aspects of interior space making. Developing an approach towards the study.

Studying subject based thesis and references and not choosing reducing scope of study. Method as history, as what the practice of a built form or building type is.

Concluding to a progressive research work, rather than a descriptive directory.

Reflection

The studies of the taken subjects were studied in more detail, and a concise aim was

developed. The philosophies and works were studied more carefully, with an ongoing continuous study of the mills. The mills were visited, documented and recorded. 19th February 2019 (Second Review) Remarks •

Subject is still too vast.

•

Relation of mills to that of art movement is missing.

• • • • • • • •

Appendix

• •

Chapterisation needs to be elaborated and worked upon. How Suprematism as an idea of space making can be looked upon in different typologies of architecture.

A road map has to be made as to how the sub topics are going to be linked.

Differences between the ideologies of artists-architects should be looked upon. Defining conceptual space making as a concept.

What of suprematism and conceptual space making will be looked upon as a scope and as a limitation.

A table to extract each aspect of movements, artists and mills with each other as an interrelation; forming relationships; if there are any.

What is conceptual space making in terms of area, detail, client, space, function. Can only mills be studied, or any other building can be taken in consideration. Relationship between Suprematism and Conceptual space making.

Reflection

The mills were revisited and were kept on stand by, as they seemed to be hindering the

overall idea of the document. Each topic was studied to the core and inferences were made from parent art movements of the avant - garde. The document was strengthened

structurally. An analysis of the works of the artists and architects had begun. The line that joined all these fragmented topics, was established.

155

19th March 2019 (Final Review) Remarks • • • • • • • •

Formatting and Structuring should be now catered to.

A linkage between each chapter needs to be established to provide a closure towards the end of each chapter.

Ideation of the formed theories should be worked upon in the later stage.

Analysis of drawings and artworks should be more detailed. They should be fragmented and at the same time should have a well-established interrelationship. Diagrams should be labeled and well descriptive.

Current practices should be compared to the previous ones. Emphasis on important content is to be depicted.

Content needs to be structured in a better way in terms of the link between the content and sub-structuring.

Reflection

Final structuring and formatting was executed. The chapters were sub-structured and all the diagrams, were labeled. An original, core and instinctive idea, that had sprung at the inception of the research, was structured into the conclusion and a further meaning. The feedbacks helped constantly in forming the document.

Appendix

[These discussions occurred under the guidance of Kireet Sir, Amal Sir, Kaulav Sir, Rishav Sir, and Aprajita Ma’am.]

JRS

156

010100000101010101010010 01000101001011100010000 0010100110101010101010000 0101001001000101010011010 10001010010111000100000 010100100100000101000100 010010010100001101000001 010011000010111000100000 010001000101100101001110 010000010100110101001001 010000110010111000100000 010100100100010101010000 010001010100000101010100 001011100010000001010000 PURE. SUPREME. RADICAL. DYNAMIC. REPEAT.