Архітектура театральних будівель Ф. Кізлера в контексті його творчих ідей
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2019-02-26
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Видавництво Львівської політехніки
Abstract
Розглянуто ключові етапи розвитку театральних будівель Ф. Кізлера та їх зв’язок із його творчими ідеями та експериментами над театральним простором.
Frederick Kiesler is a unique artist and multi-faceted personality whose ideas and inventions in architecture, design and art remain an inexhaustible source for research and imitation by many contemporary architects in Ukraine and the world. His numerous designs and experiments with the boundlessness of space are nowadays embodied in the architecture of buildings and structures of various types and purposes - in contemporary theatrical design. Kiesler challenged a mechanized “box” in which architecture was imprisoned and wrote a series of scholars asking questions about how hard boxes can coexist with humans. Kiesler's theatrical spaces provoked a new interpretation of the angles, the boundaries between the floor and the walls, and how people perceived them. He took the frames not only from the paintings. Kiesler showed the frame as a trap, a static container that always cuts off the flexible body from the environment. Kizler eliminated the rigid hierarchy of corners and created a continuous surface that has neither beginning nor end. The organic surface that it promotes is more convenient as an environment for the necessary and constant human needs. Therefore, the sphere became the main element of the theatrical spaces of Kiesler Kiesler’s attention to multifunctionality and flexibility could be based on a great interest in physiology and psychology. He has reviewed many psychology books and has written a lengthy section on psychology and physiology as a supplement to his architectural studies. In particular, the ideas of the American psychologist William James could be of great importance for the development of his theory of structures that could change. In the last two works, he emphasizes sections on the influence of the physical environment on the human body. In these parts, James argued that the energies existing in the outside world have an effect on the inner energies, and thus intertwine people in the immediate vicinity. He explained that, for example, a resident of a village who moved to a city must first adapt to the rush of urban spaces, his body would be nervous to respond to any changes. However, after a while, his nervous system will undergo physical changes and adapt to the new environment. Kiesler firmly believed that for the formation of the human psyche, the change of structures had a good effect. Like the development of language, the interaction of structure and psyche emerges the cycle of input and output, which gives rise to new creative activity For Kiesler, theater projects are the embodiment of a universal construction system that could serve as a starting point in the further development of architecture. Its simple form structure makes it possible to imagine a bit more familiar to us with the artistic and architectural traditions, provoking interest in new ways of life in an environment that accurately reflects the configuration of the installation, which can be moved around freely. Kiesler transforms exhibition visitors into residents and active elements of the installation. The theme of close interaction between the building and the visitors should play a crucial role in the vision of theatrical architecture.
Frederick Kiesler is a unique artist and multi-faceted personality whose ideas and inventions in architecture, design and art remain an inexhaustible source for research and imitation by many contemporary architects in Ukraine and the world. His numerous designs and experiments with the boundlessness of space are nowadays embodied in the architecture of buildings and structures of various types and purposes - in contemporary theatrical design. Kiesler challenged a mechanized “box” in which architecture was imprisoned and wrote a series of scholars asking questions about how hard boxes can coexist with humans. Kiesler's theatrical spaces provoked a new interpretation of the angles, the boundaries between the floor and the walls, and how people perceived them. He took the frames not only from the paintings. Kiesler showed the frame as a trap, a static container that always cuts off the flexible body from the environment. Kizler eliminated the rigid hierarchy of corners and created a continuous surface that has neither beginning nor end. The organic surface that it promotes is more convenient as an environment for the necessary and constant human needs. Therefore, the sphere became the main element of the theatrical spaces of Kiesler Kiesler’s attention to multifunctionality and flexibility could be based on a great interest in physiology and psychology. He has reviewed many psychology books and has written a lengthy section on psychology and physiology as a supplement to his architectural studies. In particular, the ideas of the American psychologist William James could be of great importance for the development of his theory of structures that could change. In the last two works, he emphasizes sections on the influence of the physical environment on the human body. In these parts, James argued that the energies existing in the outside world have an effect on the inner energies, and thus intertwine people in the immediate vicinity. He explained that, for example, a resident of a village who moved to a city must first adapt to the rush of urban spaces, his body would be nervous to respond to any changes. However, after a while, his nervous system will undergo physical changes and adapt to the new environment. Kiesler firmly believed that for the formation of the human psyche, the change of structures had a good effect. Like the development of language, the interaction of structure and psyche emerges the cycle of input and output, which gives rise to new creative activity For Kiesler, theater projects are the embodiment of a universal construction system that could serve as a starting point in the further development of architecture. Its simple form structure makes it possible to imagine a bit more familiar to us with the artistic and architectural traditions, provoking interest in new ways of life in an environment that accurately reflects the configuration of the installation, which can be moved around freely. Kiesler transforms exhibition visitors into residents and active elements of the installation. The theme of close interaction between the building and the visitors should play a crucial role in the vision of theatrical architecture.
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Keywords
театр, архітектура, Ф.Кізлер, ідеї, простір, theater, architecture, F. Kiesler, ideas, space
Citation
Янчук К. В. Архітектура театральних будівель Ф. Кізлера в контексті його творчих ідей / К. В. Янчук // Вісник Національного університету “Львівська політехніка”. Серія: Архітектура. — Львів : Видавництво Львівської політехніки, 2019. — № 911. — С. 47–51.