Concepts of Space in Art

Concepts of Space in artworkIn his book Space, Time and Architecture, Sigfried Giedion noted that through developments do during the spiritual rebirth, the institution of distance comes to fruition. This existence of lacuna in art was expressed with the breakthrough of perspective. Through the use of perspective he says every element is colligate to the unique point of wad of the individual.In linear perspective -etymologically ca-ca seeing- objects are depicted upon a plane outdoors in con pass waterance with the way they are seen, without reference to their implicit shapes and relations. The whole picture or figure is calculated to be valid for one station and reflexion point only. To the fifteenth century the principle of perspective came as a complete revolution, involving an extreme and violent break with the medieval aim of quadriceps, and with the flat, rootless arrangements, as its artistic expression.Sigfried Giedion, Space, Time and Architecture, Harvard University Press, Cambridge,1967, first published 1941, pp. 30-31During the conversion, fields of test particularly in the arts were tight intertwined with traditional models. In architecture, buildings were intentional with reference to past examples. At around nigh the early ordinal century, on that point came a shift in the thoughtion of situation that bust free of the rigidity associated with antiquity.Relativity in our conception of topographic point came close to through the development of cubism. Cubism introduced a new dynamic to visual representation. The shut in view is coupled with different points of view of the corresponding object, his brings in a factor of time.Joan Ockman professor and the director of the Temple Hoyne Buell Center for theStudy of Ameri asshole Architecture at Columbia University. Here will be cited her show TheWay Beyond Art published in Autonomy and Ideology, ed.Somol, R.E., the Monacelli Press, refreshful York, 1997, pp.83-120matter ceased to be understood as opaque mass. The mantrap at a time envisaged different aspects of space simultaneously, inside and outside, convex and concave at once. liaison was decomposed into simple surfaces and lines (as in Mondrian) or became transparent and interpenetrating (as in Lissitsky). With these developments, space came to be understood as a crossing of movements and energies.The change in the conception of space is said to be the demolition of pictorial space by Cubist techniques and substitution of a relative point of view for an absolute oneAlong with Ockman, Sigfried also wrote about a new conception of space from the traditional. He claims that classical conception of space is related to the plan of perspective and this notion was the primary element in painting since the spiritual rebirth up until the 20th Century. For Giedion, the new method of visual representation subsequently the formation of cubist techniques coincides with a shift in the conception of sp ace and develops form giving principles of the new space conception After Cubism, space conception changes from the static perception of the Renaissance. Giedion claims that the classic conceptions of space and volumes are throttle and one sided. For Giedion, the possibilities of this new space conception is like Cubism with its m each perspectives that deplumate the essence of the subject, give it an infinite potential for relations within it. Giedion claims that the click of cubism is an anonymous principle just like the disc overy of perspective. That cubism is the expression of a collective and almost unconscious attitude and for him, this expression is also closely related to scientific advancements of that period.As Giedion says.Cubism breaks with Renaissance perspective. It views objects relatively that is, from several points of view, no one of which has exclusive authority. And in so dissecting objects it sees them simultaneously from all sides from preceding(prenomina l) and below, from inside and outside. It goes around and into its objects. Thus to the three dimensions of the Renaissance which have held life-threatening as constituent facts passim so many centuries, there is added a fourth one timeIn period design, the typify itself buttocks become a medium for the exploration and the experimentation of different concepts in vision and space conception. The branch is the manifestation of the relationship between performers and hearing.In her book, subjects, Gaelle Breton makes reference to ancient theatres. She says that the Greek theatres of antiquity sought to create a unity between the play and audience areas and combined them under an uncivil air space. This principle she states becomes the model for Elizabethan theatres which she identifies with the Shakespeare Globe Theatre.Breton states that during the Renaissance, theatre design undergoes an increasing separation from the outside world, and within creates an ever increasing a ssort between stage and spectator who sit in a puzzle position for an optimum static perspective. This resembles the painting of the time.The way theatres were designed during the Renaissance was challenged by Richard Wagner. Together with architect Otto Brukwald, they collaborated to design theatre which sought a reversal in the separation of and stage. The theatre of the Renaissance was concerned with the audience with the perspective of the audience. No balconies and a darkened auditorium focused the audiences attention to the stage. Theatre no longer sought to create the invocation of reality merely sought to express the essence of a play.Breton also claims that the necessity for creating the illusion of reality became less relevant with the advent of cinema and the innovation of cubism which shattered the traditional perception space and style of spatial representationAntonin Artaud (1862-1928) was a famous stage director and the author of Theatre and its Double. He describ es the architectural space that he seeks for his outturns as a single, universal locale without any partitions of any kind His proposal was to abandon the architecture of his time and crash about producing production that could be held in a barn or a hanger for performance. The notion of flexible space such as this can also be seen in the architecture of Ludwig Mies van der Rohe around this time. The concept is for a performance space as a total space which can be redesigned and reorganized for different productions.The sculptor and painter Oscar Schlemmer, conducts experiments for stage space at the Bauhaus. Roselee Goldberg state that the work at the Bauhaus was to achieve a synthesis of art and technology in pure form The studies conducted include the problems of performance space such as the opposition of visual put and spatial depth Schlemmers experiments demonstrated a new conception of space on stage. In the 1920s, the discussion of space centred on the notion of mat volu me Schlemmer explained thatout of the plane geometry, out of the pursuit of the straight line, the diagonal, the draw and the curve, a stereometry of space evolves, by the moving vertical line of the leap figure. The relationship of the geometry of the plane to the stereometry of the space could be felt if one were to cypher a space filled with a soft pliable mall in which the figures of the sequence of the dancers movements were to harden as a negative formUp until the twentieth century, the criteria for stage design was a framed view and theatres based on the relation of the proscenium. In the early twentieth century, ultra stage designers such as Edward Gordon Craig challenged this two dimensional approach to stage design with three dimensional concepts and experiments.For his first production, Craig had to design his own stage as the only available space was the Hampstead Conservatoire. This concert hall was 44ft wide-cut with a series of stepped platforms at one end to rest home the orchestra. The comprises made by Craig became a characteristic of his work. The ceiling height was level throughout and Craig incorporated Herkomers technique of over head inflammation and sky personal effects. A low proscenium was constructed to facilitate frames and a bridge above the stage for the light man. To facilitate a cast and chorus of 75, the full breadth of the stage was utilized. This created a strikingly panoramic effect. In later production in Coronet and Great Queen Street theatres, Craig lowered the proscenium by as much as 12ft to create the impression of great width. He also found that creating stepped platforms allowed for three dimensional groupings and movement. Craig wanted the spectators to have the same perspective of the plays so no side galleries, or boxes were used, instead a single level seating was used.Another characteristic of Craigs productions which challenged the viewers fancy were, although the sets were openly theatrical, with e verything from imitation vine leaves to crude papier-mch boars head, on the other hand there was a deliberate avoidance of realistic detail and simple effects of colour were used, leaving the imagination free and achieving a suggestiveness that one viewer had commented reminded him of the delicate friezes of Pompeii.For these surfaces, Craig explains they stand on the stage just as they are, they do not imitate nature, nor are they painted with realistic or enhancive designsCraig studied the theatrical work as it was in ancient Greece, Rome, from the Renaissance to the Elizabethan. He noted that Once upon a time, stage scenery was architecture. A little later it became imitation architecture, lull later it became imitation mushy architecture.The two elements which became central to Craigs concept of a new theater were dismissal and movement.The two elements which became central to Craigs concept of a new theater were lighting and movement.The great daytimes of painted scenery b elonged to the era of dim lighting from gas-few footlights or candles, which flattened the performer so that he an the picture became one. The day the first spotlight was on the side of the proscenium, everything changed. The actor now stood out, was substantial, and a contradiction suddenly appeared between roundness and the two dimensional trompe loeil slow his back. The great innovators in the art of scenic design, Adolphe Appia and Gordon Craig, knew this before the First land War.Peter Brook, Threads of Time, Methuen Publishing Limited, London, 1999, p.48In 1923, Fredrick Kiesler presented his concept for the Endless Theatre. The prow of this space was the structure did not have any frame, but could still maintain its form. In the 1920s architecture had a strong end to attend space from a functional point of view. Buildings where traditionally of a rectangular shape, however there were no corners in Kieslers endless concept. This implies a meaning of time and space simulta neously which one can interpret as without and en, or in another sense an eternity of time. art object this theatre expressed Kieslers concept of space, it was in 1958 when he presented the Endless house that his concept had manifested itself into a space that responded to human sensibilities as well as a functional space acting as a home.An knowledgeableness architecture piece by Bernard Tschumi called the Glass Video Gallery was constructed in the Netherlands. It is a glass structure which contains 6 banks of video monitors. The projects intention was to challenge our preconceived ideas on the act of viewing. The monitors act as an unstable faade, eternal space is suggested through mirror reflections. The reflective surfaces which can be interpreted as a modern day equivalent to Edward Gordon Craigs surrounds. The immateriality presents an evasive surface. The architect presented a challenge to the permanence of buildings. The multiplying layers act to dissolve the surface of the glass. Lighting at night acts to transform the space. For TschumiThe endless reflections of the video screens over the vertical and horizontal glass surfaces reverse all expectations of what is architecture and what is event, of what is wall and what is electronic image, of what defines and what activates.Tschumi also claims that his glass box challenges the ideas of television viewing and about privacy. The transparency of the glass walls acts as an opposition to an enclosed private space it also acts as an extension to the street. Within the structure, a person watches and is watched at the same time.