The Architectural Sculpture of Upthrust
Kazimir Malevich's painting with the black square on the white canvas provides the starting point of architectural sculpture. A real work of sculptural art work appears plastic in space and is realization of a three-dimensional idea. Such as the space structures of architecture and is only limited by the material, texture, colour, excitement and vitality of external influences, such as solar, wind and rain. Modernism was concerned with the appearance of weightlessness, but interpreted and re-defined this to be floating, or hovering. El Lizzisky’s Lenin Gallery demonstrated the power of upthrust.
The sensitivity and imagination lead to the completion of the facility. This created object of visionary power, strength, gravity, balance, form and beauty are its intellectual attributes, and not to be confused with the purely physical. Piet Mondrian argued:
"Although Art is fundamentally everywhere and always the same, nevertheless two main human inclinations, diametrically opposed to each other, appear in its many and varied expressions. One aims at the direct creation of universal beauty, the other at the esthetic expression on oneself, in other words, of that which one thins and experiences. The first aims at representing reality objectively, the second subjectively.”
An artistic or architectural sculpture with more or less physical attributes, does not win or lose spiritual significance. To explore ‘upthrust’ and ‘gravitation’ in an architectural structure, the project ‘Tu m’’ was developed.
Mondrian, Piet. Plastic Art and Pure Plastic Art. British Journal: Circle 1937 p. 41-57
Keywords: Aura, Space, Upthrust, Gravity, Sculpture, Art, Architecture, Malevich, Tu m’, Mondrian, Lizzisky
Lecturer, School of Built Environment, UNITEC New Zealand