The two articles,
Architectural Representation and the Perspective Hinge by Alberto Perez-Gomez and Louse Pelletier, and
Lines and Linearity:
Problems in Architectural Theory by Catherine Ingraham, found in a collection of essays entitled
Drawing |
Building |
Text by Andrea Kahn (editor) bring to conversation the concepts of seeing and visualization. Starting with the concepts of the line and linearity, Ingrahm theorizes that what gives architecture form in the simplest context is “line”. With that being said, Ingraham states, “ as a subject, the line must be outlined – given a shape or character – and it is precisely at the moment when the line takes a shape that it eludes our grasp”(p.5) I believe that this statement looks at how form seems to take shape, and just at the moment where line defines form that, we no longer understand line but the form that is made up of many different line segments. I guess to try and communicate this a little better I will refer to one of Barnett Newman’s pieces of work entitled Concord.
Barnett Newmann, Concord 1949Know for his abstraction of the fundamental concept of line Barnett takes his limited palette of color and creates a highly layers yet simple composition of diluted green and yellow washed paints. What we see are the thick spatial fields that are demarked by color, the edges are the relationships to greater composition. Each spatial field’s edge is defined by a line, but is lost in the composition as a whole. These fundamental concepts are followed throughout his works. One more example is part of a series entitled Station, the reason why I bring this to attention is because here Barnett plays with achromatic colors (black & white) which represents a composition built clearly by the line showing the space in between.
Barnett Newmann, Thirteenth Station 1965-66
3 comments:
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Your analysis of paintings in the terms set forth in our readings bring up issues of the part vs the whole. You point out that that the distinction between the parts/pieces is blurred when grouped together in a whole. This combination of the pieces to form a coherent whole that is more than the sum of the individual parts is one of the fundamental principals of emergence, which is also one of the implicit themes of this course.
It's interesting how that last painting is clearly about the space in between the two black objects...the white space in this image is almost blinding because of the sharp contrast. However, I couldn't seem to take my eye off of that bright spot, I want to leave the bounds of the two black walls closing me in. I was wondering if this same powerful feeling is felt by anyone else? and do you think this painting would be as powerful if the white space were centered in the composition? For some reason, I feel that becuase of the slight off centered position of the space, we get the idea of perspective, something I'm sure, the author experimented with and intended...
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