ΕΜΠ – ΤΜΗΜΑ ΑΡΧΙΤΕΚΤΟΝΩΝ
ΤΟΜΕΑΣ Ι – ΑΡΧΙΤΕΚΤΟΝΙΚΟΥ ΣΧΕΔΙΑΣΜΟΥ
1Ο ΧΕΙΜΕΡΙΝΟ ΕΞΑΜΗΝΟ ΣΠΟΥΔΩΝ
ΑΚΑΔ. ΕΤΟΣ 2013-2014
ΕΙΣΑΓΩΓΗ ΣΤΗΝ ΑΡΧΙΤΕΚΤΟΝΙΚΗ ΣΥΝΘΕΣΗ
Ο ΜΕΤΑΣΧΗΜΑΤΙΣΜΟΣ
ΤΟΥ ΚΥΒΟΥ
Piet Mondrian
Σύνθεση Ι με Μπλε και Κίτρινο
ΠΑΡΟΥΣΙΑΣΗ : ΕΛΕΝΗ ΠΟΡΤΑΛΙΟΥ
ΚΑΘΗΓΗΤΡΙΑ ΑΡΧΙΤΕΚΤΟΝΙΚΗΣ ΣΧΟΛΗΣ ΕΜΠ
Το θέμα αυτό αναδεικνύει, με τον πιο απλό και εμπειρικό τρόπο ότι η αρχιτεκτονική σκέψη είναι
πάντα συνθετική.
ή Βασίζεται
ζ
σε συνεχείς
χ ςμ
μετασχηματισμούς,
χημ
μ ς που προϋποθέτουν
ρ
αποφάσεις
φ
ς γγια
να συγκεκριμενοποιηθούν, στο σκέπτεσθαι δια του πράττειν και στο δοκιμή και λάθος.
Το δεύτερο θέμα εισάγει με συστηματικό τρόπο στα μέσα παράστασης /αναπαράστασης του
χώρου.
Αναφέρεται συγκεκριμένα στον μετασχηματισμό ενός κύβου διαστάσεων 30Χ30Χ30εκ.,
30Χ30Χ30εκ που θα
πραγματοποιηθεί με την αφαίρεση τμημάτων των επιφανειών των πλευρών του και την
επανατοποθέτησή τους στον αρχικό κύβο σε διαφορετικές θέσεις. Η τελική κατασκευή θα
προκύψει από την ανασύνθεση του κύβου. Η τοποθέτηση της κατασκευής θα γίνει σ’ ένα βασικό
επίπεδο αναφοράς (εισαγωγή στην έννοια της βαρύτητας και της ισορροπίας της κατασκευής)
και θα συσχετιστεί μ’ ένα καρτεσιανό σύστημα αναφοράς.
Εκπαιδευτικοί στόχοι της άσκησης
• Κατανόηση της τρισδιάστατης κατασκευής και των μέσων αναπαράστασης.
Εισαγωγή στη χρήση απλών υλικών και των οργάνων σχεδίασης στη σχέση τους
με τον αρχιτεκτονικό
ό σχεδιασμό.
δ
ό
Κατανόηση της σημασίας του σκίτσου και της μακέτας στην αναλυτική διερεύνηση
του χώρου και στη συνθετική διαδικασία.
• Μεταφορά
φ ρ από τον χχώρο
ρ στην
η τρισδιάστατη
ρ
η (μ
(μακέτα)) και στη
η δυσδιάστατη
η ((σχέδιο)
χ
)
απεικόνιση. Σχεδιάζω αυτό που βλέπω.
• Διερεύνηση των συνδυασμών και των παραλλαγών που προκύπτουν από διαφορετικές
σχέσεις ενός επιπέδου με ένα άλλο επίπεδο.
• Κατανόηση
Κ
ό
της σημασίας
ί του επιπέδου
έδ ως «διαχωριστικού
δ
ύ στοιχείου»
ί
στο χώρο.
ώ
• Κατανόηση της σημασία του ανοίγματος.
ΓΕΩΜΕΤΡΙΑ - ΚΑΝΑΒΟΣ ΚΑΙ ΜΕΤΑΣΧΗΜΑΤΙΣΜΟΙ ΤΟΥ ΚΥΒΟΥ
ΡΩΣΙΚΗ ΠΡΩΤΟΠΟΡΙΑ
Ορισμένα από τα έργα που
παρατίθενται είναι από τη συλλογή
Γ. Κωστάκη όπως εκτέθηκε στην
Εθνική Πινακοθήκη στην Αθήνα
Kasimir Malevich, (1878-1935)
Russian painter and designer, with Mondrian the most important pioneer of geometric abstract art.
Born near Kiev; trained at Kiev School of Art and Moscow Academy of Fine Arts; 1913 began creating abstract
geometric patterns in style he called suprematism; taught painting in Moscow and Leningrad 1919-21;
published book,
book The Nonobjective World (1926),
(1926) on his theory; first to exhibit abstract geometric paintings;
strove to produce pure, cerebral compositions; famous painting White on White (1918) carries suprematist
theories to absolute conclusion; Soviet politics turned against modern art, and he died in poverty and oblivion.
He began working in an unexceptional Post-Impressionist manner, but by 1912 he was painting peasant
subjects
bj t in
i a massive
i `tubular'
`t b l ' style
t l similar
i il to
t that
th t off Léger
Lé
as well
ll as pictures
i t
combining
bi i the
th fragmentation
f
t ti off
form of Cubism with the multiplication of the image of Futurism (The Knife Grinder, Yale Univ. Art Gallery,
1912). Malevich, however, was fired with the desire `to free art from the burden of the object' and launched the
Suprematist movement, which brought abstract art to a geometric simplicity more radical than anything
previously seen. He claimed that he made a picture `consisting of nothing more than a black square on a white
field' as early as 1913, but Suprematist paintings were first made public in Moscow in 1915 and there is often
difficulty in dating his work. (There is often difficulty also in knowing which way up his paintings should be
hung,
g, pphotographs
g p of earlyy exhibitions sometimes pproviding
g conflictingg evidence.))
Malevich moved away from absolute austerity, tilting rectangles from the vertical, adding more colors and
introducing a suggestion of the third dimension and even a degree of painterly handling, but around 1918 he
returned to his purest ideals with a series of White on White paintings. After this he seems to have realized he
could go no further along this road and virtually gave up abstract painting,
painting turning more to teaching,
teaching writing,
writing
and making three-dimensional models that were important in the growth of Constructivism. In 1919 he started
teaching at the art school at Vitebsk, where he exerted a profound influence on Lissitzky, and in 1922 he moved
to Leningrad, where he lived for the rest of his life. He visited Warsaw and Berlin in 1927, accompanying an
exhibition
hibiti off his
hi works
k andd visited
i it d the
th Bauhaus.
B h
I the
In
th late
l t 1920s
1920 he
h returned
t
d to
t figurative
fi
ti painting,
i ti
b t was outt
but
of favor with a political system that now demanded Socialist Realism from its artists and he died in neglect.
However, his influence on abstract art, in the west as well as Russia, was enormous.
Kasimir Malevich
Black Circle, 1923-29
Black Cross, 1923
Black Square, 1923-29
Red Square: Painterly Realism of a
Peasant Woman in Two Dimensions
Four squares, 1915
Kasimir Malevich (από τη συλλογή Γ. Κωστάκη)
Μαύρο Ορθογώνιο
Κόκκινο τετράγωνο
προσχέδια
Kasimir Malevich (από τη συλλογή Γ. Κωστάκη)
Μελέτες σουμπρεματικής
τοιχογραφίας για εσωτερικό
χώρο, 1920-21
Kasimir Malevich
Black Square and Red Square,1915
Self-Portrait in Two Dimensions, 1915
Composition, 1915
Kasimir Malevich
Aeroplane Flying, 1915
Suprematism
Composition, 1916
Ivan kliun (από τη συλλογή Γ. Κωστάκη)
Σουπρεματικές μελέτες
χρώματος και φόρμας, 1917
Lyubov Popova (από τη συλλογή Γ. Κωστάκη)
προσχέδια
Painterly Architectonics, 1917
Painterly Architectonics. Black, Red,Gray, 1916
(από τη συλλογή Γ. Κωστάκη)
Ίλια Τσάσνικ,
Σουμπρεματικός σταυρός, 1923
Πιότρ Μιτουριτς, Δέκα κυβοι, 1919-21
(από τη συλλογή Γ. Κωστάκη)
Νικολάι Λαντόφσκι ,
Μοντέλο για κατασκευαστική δομή, 1921
Νικολάι Λαντόφσκι,
Παράδειγμα συνθετικής δομής, 1921
DE STIJL
Piet Mondrian,
(Pieter Cornelis MondriaanMondriaan 1872–1944)
1872 1944)
Dutch painter, who carried abstraction to its furthest limits.
Through radical simplification of composition and color, he
sought to expose the basic principles that underlie all
appearances. He developed "neoplastic" aesthetic involving
reduction of paintings to elements of straight lines, primary
colors,, noncolors.
Mondrian became the most radical abstractionist artist of his
era. After studying cubism, Mondrian’s work became
increasingly nonrepresentational, until his compositions
such as Composition with Red,
Red Yellow,
Yellow and Blue above,
above
which consists of flat planes of the three primary colors
broken by black lines. In this new art form (Neoplasticism)
Mondrian’s goal was to eliminate all traces of representation
in favor
fa or of balanced compositions of primary
primar color and
vertical and horizontal lines. In other word, Neoplasticism
represents the absolute elements—primary colors and
vertical and horizontal lines—that underlie all appearances.
He used vertical and horizontal lines to show that the canvas
was a place consisting of right angles. His achievement of
balance between unequal parts affected the direction of art,
g The movement associated
architecture,, and industrial design.
with Mondrian’s style was named "de Stijl," after the
magazine he formed in 1917.
Composition with Red,
Red Yellow and Blue,
Blue
1937-1942
Piet Mondrian
Composition with Black, Red, Gray, Yellow, and
Blue 1874
Blue,
Composition with Yellow, Black, Blue, Red, and
Gray 1921
Gray,
Piet Mondrian
Composition No 2
Opposition Of Lines: Red And Yellow
Composition
Piet Mondrian
Composition with Color Planes and Gray Lines, 1918
Composition with Grid VII, 1919
Piet Mondrian
Broadway Boogie-Woogie,
1942-1943
New York City, 1941-1942
victory boogie-woogie,
1942-1944
Theo van Doesburg ( 1883 – 1931 )
Dutch artist and theorist (born Christian Küpper),
founder of De Stijl. Self-taught, the maverick van
Doesburg initially detested the avant-garde and
pursued naturalism. In response to the ideas of
Apollinaire and Kandinsky , however, his outlook
altered, and by 1915 he was fully converted to
abstraction. As much a theorist and critic as
practitioner, he became acquainted with many avantgarde Dutch artists over the following years,
including Mondrian , culminating in the founding of
De Stijl in 1917 . As editor of the periodical of the
same name until 1928 , van Doesburg was the
linchpin of the group, and almost its sole
representative after 1924 . De Stijl included nearly as
many architects as artists,
artists reflecting van Doesburg's
concern with the integration of art and architecture.
He taught for a short period at the Bauhaus, and
collaborated on numerous architectural projects. His
paintings share the rectilinearity of Mondrian's as in
Counter-Composition, although he later advocated a
theory of Elementarism which he considered a
correction of Mondrian's Neo-plasticism.
p
His attempt
p
to re-establish De Stijl in 1931 was forestalled by his
untimely death.
Arithmetic Composition, 1930
Theo van Doesburg
Counter Composition VI 1925
Composition weiss black
Composition in Gray
Theo van Doesburg
Poster , 1920
Poster
Theo van Doesburg
Counter CompositionV
p
, 1924
Counter-Composition XV, 1925
Simultaneous Counter-Composition,
p
,
1929-30
silkscreen
Composition
p
XXII
CompositionV
Theo van Doesburg
Cornelis van Eesteren, Maison d’Artiste, 1923
Architecture analysis
Gerrit Rietveld
Schröder House
Utrecht , 1924
R d andd Blue
Red
Bl Chair
Ch i , 1917