Новый памятник русского авангарда / Russian Avant-garde New Monument

Миры Эль Лисицкого / Worlds of El Lissitzky: Spyros Marcantonatos. Новый памятник русского авангарда / Russian Avant-garde New Monument

Проект: 
Новый памятник русского авангарда / Russian Avant-garde New Monument
Место: 
г. Новосибирск
Время: 
2013 г.
Город: 
Страна: 

Russian Avant-garde New Monument

DESIGN BACKGROUND

The fundamental objective of the El Lissitzky monument design proposal was to capture his true essence & part of the Russian “Avant Garde” art movement he pioneered. Through his efforts & artistic pursuance, he guided the worlds’ perception & attitude towards “what is art” in a most simplistic manner between1925 to 1941. He developed through his experimentation of production techniques, industrial stylized forms into symbolic new art to establish him as an International Constructionism Artist. A combination of six (6) significant concepts has been considered as the fundamental basis for this new iconic Monument as described below.

(1) GRAPHIC ILLUSION — SHAPES, COLOUR & THE SKY TOWER ICON

El Lissitzky’s passion of utilizing graphic symbolism, simple architectural objects & shapes to form visual realities is one of the inspirations to create the graphic statement. Attempting to capture his experimentation 2-dimensional forms to generate the perception of 3-dimensional entities on his canvas through mainly monotones & distinctive vibrant colours to create solid forms & dynamic compositions. Red, black & white are the constant dominant signature elements from his solid body of work & therefore this forms the pallet of the entire Monument design concept. The position of colors is such, that they are very structured & strongly shaped, dominantly triangles, squares, rectangles – simple but organized in a complex environmental balance as these were El Lissitzky’s play blocks. Subject to the Observers vista point, different combinations & juxtapositions of colours & shapes create a unique aesthetic & dynamic visual experience. The spatial illusions are greatly heightened by the varying viewing distances as a person approaches through multiple entries created to and from the icon.

(2) THE SPATIAL EXPERIENCE— SCALE, BALANCE & CONTRADICTION

El Lissitzky's extensive experimentation with 3-dimensional interior & external spaces by manipulating elements to create scale, proportion, balance & contradiction is another design element explored by this submission. The idea is to create a journey where graphic art (& not in the museum form) become fully tangible & humanly relatable entities. They can co-exist & both rely equally on each other’s strengths and weaknesses. Variation in visual details & composition of the elements such as the relationship of different urban engaging spaces controls the journey through the Monument (as a labyrinth); not totally seen & experienced at once. The changing visual & physical elements of surprise is representational of El Lissitzky's evolving ideas from simple stylized geometry, graphic art development, architecture philosophy & the rejection of the autonomous idea of art.

(3) THE LITERARY MESSAGE — VISUAL & TACTILE EXPERIENCE

El Lissitzky “informative transcripts” to be embedded into the final Monument fabric at strategic locations as an educational literary component both in pictorial / written (visual) and brail (tactile) contexts to celebrate his lifetime work & unique achievement of influencing [in his way] the modern art world today. The literary messages (not in a museum &/ or gallery conventional proscriptive manner) shall enhance the relevance of this iconic Monument as a place celebrating the visionary Artist & his art form & creating an inspiring international urban public space that is unique & recognizable worldwide. Audible & visual screens can complement the experience with literary day & night themed events with amphitheaters and seating to live the art & self-art expressions.

(4) PHYSICAL ARCHITECTURAL REALITY — THE VOLUME EXPERIENCE

His futuristic visions of bold architectural & sculptural horizontal towers created in 2-dimensional are represented in 3-dimensional forms in both positive and negative spaces when experiencing the “central heart” of the Monument. Strong references to his solid buildings forms reflecting the “architectural aspects” of his work as interpretive exo-skeleton defining the volume and shape. Exploring the viewing vistas both inward & outward from a “living art” structure encourages the full appreciation of his visionary ideas. The Monument is com posed by 2 stacked rectangular blocks within that are a specific reference to his cantilever towers both in plan & elevation. To reinforce this aspect, El Lissitzky's pictorial image forms proudly on one side of the façade [above eye level] — establishing a bold envelope linking the Artist to his creation when consciously known of its representation.

(5) SOCIAL CLIMATIC CONNECTION — THE ABSTRACT REFERENCE

Environmental elements will impact the overall experience [ i.e. the sun, wind, rain, clouds, snow & temperature variations] all interacting & enforcing their own rigid control by changing the overall appearance of the Monument seasonally. The necessary theme that reflects the social – economic World of El Lissitzky on an abstract & intellectual level as he worked within a ruling system that ordered discipline & molded this his art form expression accordingly. Control by Others is a sub-conscious & psychological association representing the external forces that the “Observer is in total control but really not”. Additionally the limited colour pallet, shape variations & spatial composition selected also represent the rigid social one people governing regime ideology at the time.

(6) TRANSITIONAL LINKING OF ART FORM & TIME LINE ELEMENTS — THE WATER FLOW

The most cohesive & striking conceptual design idea is that the monument is specific but evolving representation of time - “no beginning & no end” in an urban landscape context where all elements are factual interpretations & interwoven. El Lissitzky subject matter creativity transcends from his initial thoughts by his self being & the environment influences he experienced. From his 2D experimental renderings, to his executed 3D realities, the follow-thru art processes thereafter continues to the next generation / evolution new art and ideas. This reinforces the concept that the idea of “art” from the artists trestle merges [represented by the iconic high & vertical structure] seamlessly flowing as the architecture in a ridged controlled manner [being the horizontal & central heart component] & the creative art flow that continues to influence & metamorphosis into a new art form being the monotone elements merging to the fluid ground [water] to regenerate in time. This journey symbolizes his design expressive ideology timeline with in the monument.

El Lissitzky art form was born, blossomed and ultimately transformed into many new forms as a catalytic artistic consequence. Let’s celebrate El Lissitzky’s individual & artistic mastery through the above symbolic & public new Russian Monument.

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