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Reconstruction of the vertical architecton Gota (1923), of Kazimir Malevich
Reconstruction of the vertical architecton Gota (1923), of Kazimir Malevich

Photomontage, "Seagram infected with the 'additional element'"
Photomontage, "Seagram infected with the 'additional element'"

Study of Kazimir Malevich's photomontage "Suprematist Skyscraper" (1925-1926)
Study of Kazimir Malevich's photomontage "Suprematist Skyscraper" (1925-1926)

Interior resolution of the 'Skyscraper Gota' according to the external form
Interior resolution of the 'Skyscraper Gota' according to the external form

A Building Component inside 'Gota Skyscraper'
A Building Component inside 'Gota Skyscraper'

Sections details of 'Gota Skyscraper'
Sections details of 'Gota Skyscraper'

Sections and floor plans of 'Gota Skyscraper'
Sections and floor plans of 'Gota Skyscraper'

Details of floor plans of 'Gota Skyscraper'
Details of floor plans of 'Gota Skyscraper'

Section of the 'Gota Skyscraper'
Section of the 'Gota Skyscraper'

Section detail of the 'Gota Skyscraper'
Section detail of the 'Gota Skyscraper'

Conceptual model. Interior intervention of Gota architecton, as a skyscraper
Conceptual model. Interior intervention of Gota architecton, as a skyscraper




ÍNDICE DE PROYECTOS
GANADOR
THE 'BLIND AND UNCONTROLLABLE' NORM IN MALEVICH'S ARCHITECTURE
Pontificia Universidad Católica de Chile PUCC
ARCHITECTURE

A critical tool against the modern idea of skyscraper
This thesis identifies and investigates the tensions between the proposals of suprematist architecture of Kazimir Malevich (1878-1935) and modern architecture, specifically in vertical architecture, that is, in the modern idea of ​​the skyscraper. This is achieved through the study of the series of architectons made by the artist, consisting of orthogonal models that represent varied proposals of architectural compositional forms, composed of juxtaposed and superimposed parallelepiped elements, sometimes built in plaster and others drawn; they are lacking in program and function, which precisely makes them suggestive. This series of architectons is developed by the artist during the 1920s and 1930s in Russia. Malevich develops Suprematism as a vanguard, parallel and at the same time coincident with the rest of the vanguards for the search to generate a universal creative language detached from the object (non-objective language), where the concept behind abstraction is what elevates the work of art, and in this case, the discussions of the new architecture proposal.
In the series of architectons there are two types of architecture composition: horizontal and vertical. The thesis studies two specimens, one of each type of composition (‘horizontal architecton A11’ and ‘vertical architecton Gota’) A figurative appearance is identified in the vertical architectons, since they resemble to Skyscrapers or columns, while the horizontal architectons maintain the non-objective and abstract aspect proper to suprematism.
This thesis links the rebelliousness of Malevich's blind and uncontrollable norm with vertical architecture. In other words, the critical point is that vertical architectons are objects that put in crisis the conception of skyscrapers of their time by means of provocation. Therefore, in suprematist terms, this thesis argues and proposes to demonstrate that Malevich's vertical architecture behaves as the additional element, which combats the current norms and the proposed skyscrapers of modern cities.