Ф. Кізлер та пошуки шляхів творенням простору в архітектурі ХХ ст.

Abstract

Розглядаються зміни в парадигмі творення і розуміння мистецтва та архітектури у ХХ столітті, а також шлях становлення видатного філософа, архітектора та дизайнера Фрідріха (Фредеріка) Кізлера та його вплив на просторові експерименти.

In the twentieth century, there were significant changes in the paradigm of nderstanding and creating art and architecture. A revolutionary idea was formed that anything can become a work of art because it depends not on the quality of the object itself, but on the readiness of the viewer to perceive it. If the visitor of the exhibition, looking at the exhibits, is overwhelmed with emotions and deep thoughts, then the goal of the gallery owners and displayed artists is achieved. If not, then no matter how well the canvases or sculptures are done, the campaign is unsuccessful. The turbulent historical events of the early twentieth century, such as the redrawing of the world map, wars, and economic crises, made society extremely emotional, which primarily affected the heritage of people in creative professions. It looked like a large number of different groups and individual creators around the world decided to challenge everything that was created before. Various experiments were conducted and they were summed up by vivid manifestos. In architecture, in parallel with rational modernism, there has always been a place for the romance of irrational trends. Compared to previous historical periods, progressive visionaries did not create rooms limited by decorated walls – they created spaces, trying to give them a new quality. Breaking with traditions, they worked out a large number of inventions, which partially remained implemented only on paper. One of these outstanding experimental romantics was F. Kiesler. From the beginning of his creative career, while travelling, he got acquainted with the best achievements of the world thought in the field of finding ways to create space. Contemplating other people’s achievements and taking part in their creation directly, F. Kiesler gradually created his own author’s style – “corealism”, which was based on the reflection of the boundless space of another reality. His inventions remain not just unique projects but are eloquent evidence of the new philosophy of the ideal universe, which was implemented in the works of subsequent generations of artists.