A_U2 by Gabriela Serrano https://padlet.com/gabyramser/nwxdc4nzzoj6rke1 en-us 2024-06-17 20:07:20 UTC 2024-06-17 20:17:25 UTC hello@padlet.com The series of drawings/ideas for 'horizontal skyscrapers' by Lissitzky. gabyramser https://padlet.com/gabyramser/nwxdc4nzzoj6rke1/wish/3030301324 Gabriela Ramírez Serrano.


Lissitzky, the Russian artist and architect, created a series of drawings, in which he tried to realize the “horizontal skyscrapers” or the so-called Wolkenbugel between 1923 and 1925, while imagining Moscow reformed. The groundbreaking drawings combine purely Suprematist and Constructivist ideas with the patterns of utilitarian architecture, which impacted design history. Those “horizontal skyscrapers” designed by Lissitzky were, in fact, raised constructions, which, however, were supported by three vertical pillars.  


Those “horizontal skyscrapers” reached out along the entire city instead of ascending towards the skies. This refusal from horizontality towards the predominantly settled world to verticality towards the other worlds resonates with the Suprematist principles: pure geometry, form smoothly placed into space, absent of all that is not form, and dynamic organization of space. 


It is not difficult to see the influence of constructivism, the fact that we can clearly see that the emphasis of the author of Leonardo on the endpoint function along with form. Forming their buildings, Lissitzky thought about their significance as transport hubs and their role as the kernel of the city, its continuation, and complement. New buildings must grow out of the “old”, with which the new construction should not be a dissonance, but, as in the music, have the character of unity, the main melody, which is the new construction, and the old – overtones of it. The combination of abstract shape and the value of service reflects one of the basic provisions of the Constructivist world view: it was necessary to make such art, “that would help the people”. 


Moreover, the work of El see Lissitzky influenced European architect of modernism. Subsequently, the idea of high-rise building, “cooperating with” city, reappears in their projects: think about the Plan Voisin Le Corbusier for Paris, created in 1925, or about the “cities in the air” by Yona Friedman in the 1960s. 


Lissitzky’s “horizontal skyscrapers” are emblematic of the effect of Russian avant-garde on cutting-edge architectural developments within the 20th century. They delivered radical ideas in spatial organisation— thus defying traditional norms of architectural exercise— and depicted a futuristic imaginative and prescient for city cities in which art, technology, and society might coalesce into one utopian whole. Notably then, Lissitzky's paintings may be appeared as an expression or illustration to this visionary factor of Russian avant-garde which sought now not most effective to inspire destiny generations however additionally to defy traditional requirements that had been commonly certain via functionality and practicality. 



]]> 2024-06-17 20:14:12 UTC https://padlet.com/gabyramser/nwxdc4nzzoj6rke1/wish/3030301324