Проун 1919 выдавленный / Proun 1919 upthrust

Миры Эль Лисицкого / Worlds of El Lissitzky: Harry Rödel. Проун 1919 выдавленный / Proun 1919 upthrust

Проун 1919 выдавленный / Proun 1919 upthrust
г. Новосибирск
2013 г.

Проун 1919 выдавленный

Как говорил Эль Лисицкий: «Мир дан нам в виде цвета» и «мир дан нам через ощущения, в ощущении материалов». Архитектурная работа, «строительная площадка» создаётся только тогда, когда понимается идея пространства, если проект имеет воздействие на психику - тогда здание становится живым! Необходимо, чтобы наблюдатель быть заворожён и начал мечтать.

Proun 1919 upthrust

Project Proun 1919 in upthrust The “upthrust” function is created in an architectural design, which is based on an experimental Proun Painting by El Lissitzky between 1919-1920. The painting is nameless, the project is named “Proun 1919”and is a work of "penetrating surfaces", where the architecture grows from the surface and creates a synthesis between "technical" and "artistic" work. The "rhythmic principle" is of great importance in architecture and in every era. The developed design is coming with its own rhythmic conception, also describing the perception of increasing pace in daily life. Celerity has taken possession of our lives. Taking the express train, we realize cityscapes only as silhouettes while zooming past.

This phenomenon is demonstrated in this architectural design. The speed can strive the building upward, which is deeply rooted with its counterweight in the ground. Paths, as well as the dancing spiral, are engrossed in relief in the landscape. A large-scale structure, a clear contrasting of outstanding features and broad expanses or evenly rows with necessary details will assemble the individual components to one powerful unit towards the end. This world is built up in a visual, infinite space.

Such a view of our external world is strange and seduces the viewer and the user, too. If you want to highlight something special in the building it must be placed towards the end of our direction of movement.

The first consideration only requires working with the pure spectral colour, the abstract, which follows into the rational order of the geometric elements, and colour planimetry. A new asymmetric balance of the volume has been established, the voltages of the body have been brought to a new dynamic expression and have installed a new rhythm in the third and fourth dimension.

As El Lissitzky has quoted: "The world is given to us by seeing the colour" and "The world is given to us through grope, to grope the materials." The endeavour of the entire new architecture, as Lissitzky saw it, will loosen up the volume of the conglomerate and willcreate the spatial penetration of exterior and interior. The coloured glass fronts of the buildings will already express this demand. The way of choosing the material follows Tatlin´s considerations.

In the drafting stage there is no law that a priori determines the continuity of the creative processes. A lot depends on the intuition and how one decides to call it provisionally. It depends on the "creative discoveries", as Lissitzky and Melnikow were stating. Changes occur involuntarily, if the proportions are adjusted on site. It is obvious that the work with the idea for a building is impossible if one has not previously acquainted oneself with the technical and economic conditions of the task. Accordingly, it is going to be planned and built according to the latest sustainability standards.

An architectural work, a “Baukunst-Werk”, is created only if the lot is understood as space-idea, and if design exercises a specific effect on our psyche; – the building becomes alive! It is not sufficient enough just to be a modern human; it is necessary that the viewer can be enchanted and starts dreaming.

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