Brief+History

Art movements such as Suprematism, Neo-Plasticism, Productivists and Constructivism had their roots deeply imbedded in the material nature of the machine age, their abandonment of the figurative in favor of an abstract approach to space and form greatly influenced the course of art, architecture and design taken during the period. As artists continually re-evaluated the role of art, Cubism is regarded by most to have been the catalyst that drove art towards abstraction. From Cubism, the increasing abstraction in art followed two directions; an abstract art that was object based and one that was non-object based, where constructed without any reference to real things. || Suprematism was one of the two (Suprematism and constructivism) first movements to adopt a purely non-objective approach in the making of artwork. Both styles were essentially geometric, precise and almost mathematical. Squares, rectangles, circles and triangles were the predominant shapes used in carefully composed artworks. Suprematism began in Russia in 1913 and was based around artist Kasimir Malevich. Malevich built up pictures from geometric shapes without reference to observed reality, producing an art that expressed only pure aesthetic feelings with the belief that true value of a work of art resides solely in the feeling expressed.
 * ** Brief Art History ** Up until the first decade of the 20th century, art whether drawing painting or sculpture was always essentially pictorial; based on themes and compositions representing real world ideas. With the emergence of a new modernism through an ever increasing use of machines in industry and daily life, artists sought new ways to interpret the dynamic changes taking place around them.
 * ** Suprematism **

When we examine an antique column, we are no longer interested in the fitness of its construction to perform its technical task in the building but recognize in it the material expression of a pure feeling. We no longer see in it a structural necessity but view it as a work of art in its own right. An antique temple is not beautiful because it once served as the haven of a certain social order or of the religion associated with this, but rather because its form sprang from a pure feeling for plastic relationships. The artistic feeling which was given material expression in the building of the temple is for us eternally valid and vital. ..Nothing but the expression of the pure feeling of the subconscious or super-conscious (nothing that is, other than artistic creation) can give tangible form to absolute values. Actual utility could therefore be achieved only if the subconscious or super-conscious were accorded the privilege of directing creation. The sensations of sitting, standing, or running are, first and foremost, plastic sensations and they are responsible for the development of corresponding “objects of use” and largely determine their form. (Malevich 1927)
 * Kasimir Malevich **

**Art in Space** My thesis topic starts with the interest on the idea that the creation of forms and objects are based on our plastic sensations and being creative means constantly finding expression of feelings in order to provide effective form for the products. The new art of Suprematism has produced new forms and it also form relationships by giving external expression to pictorial feelings. In architecture, it seeks with lights and geometric compositions, on creating appropriate spaces, to convey feelings of users in the spaces, or rather the reflection of a feeling in the function of the form. This notion of transferring forms from the surface of canvas to space brings up my interest in exploring the idea of creating a total aesthetic environment to allow bodily experience art in space through the making of architecture. || media type="youtube" key="kgYcZp00ZwI" width="425" height="350"