DIMENSIONISM: Typecasting Motion

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Revisiting the Dimensionist Manifesto

The Dimensionist Manifesto of 1936 proclaimed:

  • I.  literature leaving the line and entering the plane (calligrammes, typograms, planism, electric poems)
  • II. painting leaving the plane and entering space (compositions, poly matérielles, constructivism, spatial constructions, surrealist objects)
  • III. sculpture stepping out of closed, immobile forms (perforated sculpture, open sculpture, mobile sculpture, kinetic sculpture)
  • IV. and after this a completely new art form will develop: cosmic art (the vaporisation of sculpture:”matter-music” the artistic conquest of four-dimensional space, which to date has been completely art-free the human being, rather than regarding the art object from the exterior, becomes the centre and five-sensed subject of the artwork, which operates within a closed and completely controlled cosmic space)

“This is how one would most concisely summarize the essence of dimensionism: deductive with respect to the past. inductive with respect to the future. alive in the present.”

Charles Tamkó Sirató

Revisiting these proclamations in terms of architecture yields a push past traditional definitions:

  • I. beyond firmitas (structure) to become kinetic
  • II. beyond utilitas (program) to become purposeless
  • III. beyond venustas (form) to become visually ambiguous
  • IV. beyond place (site) to become peripatetic

The matrices above break down methods that can be applied in order to push architecture beyond the static, like the Dimensionist Manifesto did with sculpture.

 

 

 

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