4 сезона

Памятник Эль Лисицкому должен быть в месте, значимом для истории Новосибирска. Таким образом, мы сконцентрируем внимание на отношениях, изобретённых конструктивизмом, отношениях между наблюдателем и пространством; на изменениях во внутреннем и внешнем пространстве в зависимости от движения и перспективы наблюдателя.

«Комната Проунов» - новое выставочное пространство, требующее от посетителя активного дви-жения. Снаружи объект представляет простую геометрию, подобную плоской картине. Внутри деформированная геометрия усиливает абстрактную атмосферу этого места. Четыре главных объема имеют по четыре смотровых площадки.

4 seasons

How does one bring new life into a historical place, Novosibirsk?

The Monument for El lissitzky has to find its sense of place in the unique historical context in Novosibirsk. So, we focused on the relationship invented by constructivism between observer and space; the changes in internal and external space based on the observer’s movement and perspective. This relationship is the main principle of the monument to represent his idea.

The monument illuminates the three-dimensional space composition process, invented by El lissitzky’s unique plastic principle. His perspectival expression creates an infinite space of parallel projection in perspective drawing by eliminating the vanishing point. It extends its own space created by viewer’s active movement beyond the sculptural object of constructivism.

‘Proun’ constructs three-dimensional space; ‘Proun raum’ shows a new exhibition space that needs a viewer’s active movement. Paradoxically, we suggest the idea that the two-dimensional plane would be imprinted in three-dimensional space. The space represented simple geometry like a twodimensional painting from observer’s view in outdoor space. Moreover, when one experiences the in-between space, the deformed geometries maximize their abstract atmospheres of the space. The plaza gives information of El Lissitzky and his achievement as well as art and architecture history. The four main masses we are proposing have four view points which are remnants of the pure abstract figure, the square, and the view to each point shows four different two-dimensional infinite plans.

In essence, the public not only contemplates the past but also speculate the extension and evolution of Russian Avant-Garde art and architecture by experiencing temporary exhibition housed in the four geometries.