“PROUN is understood as the creative construction of form (based on the mastery of space) assisted by economic construction of the applied material. The goal of PROUN is progressive movement on the way to concrete creation, and not the substantiation, explanation, or promotion of life.”

1915 - 1925, Theses on the 'PROUN': from painting to architecture' (1920)

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El Lissitsky43

Soviet artist, designer, photographer, teacher, typographer… 1890–1941

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“We have named PROUN [the art, stepping over from painting to architecture] a station on the path to the construction of the new form... From being a simple depicter the artist becomes a creator (builder) of forms for a new world — the world of objectivity. This does not mean the creation of a rivalry with the engineer. Art has not yet crossed paths with science.”

El Lissitsky (1890–1941) Soviet artist, designer, photographer, teacher, typographer and architect

1915 - 1925, Theses on the 'PROUN': from painting to architecture' (1920)

“PROUN alters the conventional forms of the arts and leaves behind the image of the petty individualist, who locked himself in his office and hid seated before a drawing easel, starting one picture and finishing another.
The future life — this is the reinforced concrete slab for the communist foundation of the nations of the entire world. With the aid of the PROUN one can build a unified city-commune on that foundation, intended for the life of all mankind.”

El Lissitsky (1890–1941) Soviet artist, designer, photographer, teacher, typographer and architect

1915 - 1925, Theses on the 'PROUN': from painting to architecture' (1920)

“The truthfulness of materials of constructions, concrete, bricks and stone, shall be maintained in all buildings constructed or to be constructed.
The seed of Chandigarh is well sown. It is for the citizens to see that the tree flourishes.”

Le Corbusier (1887–1965) architect, designer, urbanist, and writer

"The Edict of Chandigarh," 1959

“We analyzed the first stage of our construction, confined to two-dimensional space, and found it to be as durable and resistant as the earth itself. We build in this space just as we would on the ground, and therefore must take as our point of departure the concepts of gravity and force of attraction, as the foundation of everything built on the land. In PROUN the reciprocity of the effects of gravity [Newton, 'for every action an equal and opposite reaction'] manifests itself in a new capacity. We see that on the surface (plane) of the picture, the PROUN ceases to exist as such and becomes a building surveyed from every direction — considered from above or examined from below. The result of this turns out to be the destruction of the single axis that leads to the horizon.”

El Lissitsky (1890–1941) Soviet artist, designer, photographer, teacher, typographer and architect

1915 - 1925, Theses on the 'PROUN': from painting to architecture' (1920)

“After having passed through the various phases of plastic creation [the phases of arrangement, composition, and construction] I have arrived at the creation of 'universal forms' through constructing upon an arithmetical basis with the pure elements of painting.”

Theo van Doesburg (1883–1931) Dutch architect, painter, draughtsman and writer

Quote in Van Doesburg's article 'From intuition towards certitude', 1930; as quoted in 'Réalités nouvelles', 1947, no. 1, p. 3
1926 – 1931

“The construction of hypotheses is a creative act of inspiration, intuition, invention; its essence is the vision of something new in familiar material. The process must be discussed in psychological, not logical, categories; studied in autobiographies and biographies, not treatises on scientific method; and promoted by maxim and example, not syllogism or theorem.”

Milton Friedman (1912–2006) American economist, statistician, and writer

"The Methodology of Positive Economics" (1953)

“The principle assumption made in Artificial Life is that the 'logical form' of an organism can be separated from its material basis of construction, and that 'aliveness' will be found to be a property of the former, not of the latter.”

Christopher Langton (1949) American computer scientist

Source: Artificial Life (1989), p.11

“The material called iron or steel I hold in high respect. What it can do in arriving at a form economically, no other material can do... What associations it possesses are those of this century: power, structure, movement, progress, suspension, destruction, brutality.”

David Smith (1906–1965) American visual artist (1906-1965)

quote, early 1950's
Source: 1950s, from 'Abstract Expressionism' (1990), p. 41

“In reinforced concrete we have not only a new material but, of far greater consequence, new constructions and a new method for designing buildings. Therefore, in using [reinforced concrete], we have to renounce the old traditions and concern ourselves with meeting new tasks.”

Vladimir Tatlin (1885–1953) Russian artist

Quote in: 'Zodchii 19' (1915), p. 198; as quoted by Vasilii Rakitin, in The great Utopia - The Russian and Soviet Avant-Garde, 1915-1932; Guggenheim Museum, New York, 1992, p. 30
Quotes, 1910 - 1925

“A pattern is a fully realized form original, or model accepted or proposed for imitation. With patterns, small piecework is standardized into a larger chunk or unit. Patterns become the building blocks for design and construction. Finding and applying patterns indicates progress in a field of human endeavor.”

Peter Coad (1953) American software entrepreneur

Source: Object-oriented patterns. (1992), p. 158

“PROUN is understood as the creative construction of form (based on the mastery of space) assisted by economic construction of the applied material. The goal of PROUN is progressive movement on the way to concrete creation, and not the substantiation, explanation, or promotion of life.”

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