Correalism and Biotecnhique in the Drawings of Frederick Kiesler

Starting from the reflections carried out by Friederick Kiesler on theatre as place of experimentation of the architectural matter, the issue deals with the deepening on the relationship between the drawing and the theatral space of the kieslerian vision, through the redrawing of the Universal Theatre of the 1961, architectural synthesis of his correalist and biotechnique poetry in which the interaction between actor-spectator and stage-auditorium is focused, already launched in Vienna around 1920 with the projects of the Endless Theatre and the Raumbuhne. The aim is to produce new images and new places of one of the most emblematic works of Kiesler, tracing again the set-design constructions and the studies of the possible movements made by the actors in the scene for the definition of the theatral space. The redrawing of Kiesler’s work raises some material questions on the existence that the architect faced looking at the project as an abstraction process, from the nature to the machine, passing through an architecture in progress. The graphic production of Kiesler testifies the coexistence of two principles characterizing his work: the concept of space-time in architecture and the continuous construction rendered through the tension of the shell. The digital elaborations produced following the graphic study aim at metabolizing these two principles, framing the interaction in the place of the drawing.