“But the projects with which the architects of Russian proletarian architecture present us are not only based on pure imagination, but their construction would, if they were fitted for realization, entail enormous waste of space and materials. The dwelling complex 'Wolkenbügel' [architecture, designed by Lissitzky, with the help of [ w:Emil Roth - Swiss architect, 1924] (assuming that one could live here without either freezing or melting!), shaped like a 4, stands in a very un-constructive way on three legs in which the elevators are located. The latter take up as much space as would one or more skyscrapers. And these 'architects' are to teach the West what architecture is!”

— Theo van Doesburg

Quote of Theo van Doesburg, in Architecture and revolution — Revolutionary architecture? Utopian designs by Tatlin, Lissitzky, and others, Theo van Doesburg, in 'Het Bouwbedrijf' (1928)
1926 – 1931

Adopted from Wikiquote. Last update June 3, 2021. History

Help us to complete the source, original and additional information

Do you have more details about the quote "But the projects with which the architects of Russian proletarian architecture present us are not only based on pure im…" by Theo van Doesburg?

Theo van Doesburg 46

Dutch architect, painter, draughtsman and writer 1883–1931

Related quotes

“The influence of literary theory on its related disciplines has prompted much debate about the notion of ‘authorship’. Yet the attraction of exploring architecture, or more specifically a building, through the life of its architect (author) remains a significant force in the construction of its histories. This is particularly the case when the architect has been identified as a major figure in the evolution of the architectural history. Conversely, buildings without architects are pushed to the sidelines of history.”

Dana Arnold (1961) Middlessex uni prof

Source: Reading Architectural History (2002), Ch. 2 : The authority of the author : Biography and the reconstruction of the canon

“From the very beginning of the Constructivist Movement it was clear to me that a constructed sculpture, by its very method and technique brings sculpture very near to architecture... My works of this time up to 1924.... are all in the search for an image which would fuse the sculptural element with the architectural element in one unit. I consider this Column the culmination of that search.”

Naum Gabo (1890–1977) Russian sculptor

Quote of Gabo, as cited in: Simon Wilson (1991), Tate Gallery: An Illustrated Companion, Tate Gallery, London, revised edition. p. 146
undated

“Faced with unmeasurables, people steer their way by magic. Before the invention of navigational instruments, a lady was carved on the prow of the boat to help sailors cross the ocean; and architects, grappling with the intangibles of design, select a guru whose work gives them personal help in areas where there are few rules to follow. The guru, as architectural father figure, is subject to intense hate and love; either way, the relationship is personal, it can only be a one-to-one affair. This accounts for the intensely ad hominem stance of some of ‘Venturi’s’ critics. If the attribution were correct the tone would be more even, as one cannot easily wax emotional over several people. I suspect, too, that for male architects the guru must be male. There can be no Mom and Pop gurus in architecture. The architectural prima donnas are all male.”

Denise Scott Brown (1931) American architect

"Sexism and the star system in architecture"

“The purpose here is to demonstrate the diversity of classical formulae which appeared in architectural design, and if we look at classical architecture as a repertoire of forms rather than statements of specific design credos we can challenge teleological constructions of stylistic histories. The method of grouping the architecture from given periods of time under general stylistic labels has, without doubt, been the backbone of the discipline of architectural history. And when used skilfully and carefully it can provide useful punctuation marks in the lengthy and complex narrative that is the subject-matter of the history of western building. Yet it is only one of many tools with which to explore social and cultural contexts.”

Dana Arnold (1961) Middlessex uni prof

Source: Reading Architectural History (2002), Ch. 3 : On classical ground : Histories of style

“Only when architect, bricklayer and tenant are a unity, or one and the same person, can we speak of architecture. Everything else is not architecture, but a criminal act which has taken on form.”

Friedensreich Hundertwasser (1928–2000) Austrian artist

Mould Manifesto against Rationalism in Architecture (1958)

“The world is changing dramatically and architecture, and especially cities, need to move with these changes. What can we do to help as architects? Architecture as a way of thinking — as the title of our first exhibition in 1989 suggested — is more relevant than ever.”

Jacques Herzog (1950) Swiss architect

places.designobserver.com http://places.designobserver.com/feature/an-interview-with-jacques-herzog/32118/.

“First were the thick stone walls, the arches, then the domes and vaults — of the architect, searching out for wider spaces.
Now it is concrete-reinforced that gives our imagination flight with its soaring spans and uncommon cantilevers. Concrete, to which architecture is integrated, through which it is able to discard the foregone conclusions of rationalism, with its monotony and repetitious solutions.
A concern for beauty, a zest for fantasy, and an ever-present element of surprise bear witness that today's architecture is not a minor craft bound to straight-edge rules, but an architecture imbued with technology: light, creative and unfettered, seeking out its architectural scene.”

Oscar Niemeyer (1907–2012) Brazilian architect

Acceptance speech, Pritzker Architecture Prize http://www.pritzkerprize.com/bunnei.htm#Oscar%20Niemeyer's%20Acceptance%20Speech (1988).

“I don’t think pro bono work [in architecture] is very common and that is because sustainable and resilient architecture is not currently viewed as a necessity. Unfortunately, it takes large scale disasters to expose the failures and negligence in design and construction.”

Jiri Lev (1979)

Source: The Australian Architects Offering Pro-Bono Design Services to Bushfire Survivors https://hivelife.com/architects-assist/.

“Marinetti's [leading Futurism founder and theorist] Tactilism can be seen as an instinctive effort in this direction [of the new architecture, according to Van Doesburg] even if it presents only the sensuous-tactile expression of space through using various materials. Picasso's earlier compositions in various materials also concerns us here. The Russian artists [ Tatlin and Lissitzky, both Constructivist artists] also appreciated the exterior quality of the plane, not only optical, but also in a tactile manner... Intuition already produced a foreknowledge of these new realms, but they can be established fully only by science.”

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

Quote in van Doesburg's unpublished writing: 'The struggle for the new', 1929-30; as quoted in Theo van Doesburg, Joost Baljeu, Studio Vista, London 1974, p. 187
Van Doesburg's quote is proposing here the sensuous-tactile expression of space as essential for modern architecture
1926 – 1931

“CIMOSA provides a Reference Architecture (known as the CIMOSA cube) from which particular enterprise architectures can be derived. This Reference Architecture and the associated enterprise modelling framework are based on a set of modelling constructs, or generic building blocks, which altogether form the CIMOSA modelling languages.”

Peter Bernus (1949) Hungarian-Australian computer scientist

Peter Bernus, Kai Mertins, Günter Schmidt (1998) Handbook on Architectures of Information Systems. p. 244

Help us to complete the source, original and additional information

Theo van Doesburg 46

Related quotes

Related topics