Transcriptions of Spatiality Avant-Garde and Architecture

The trend towards dematerialisation and the infinite possibilities of dissemination characterising our reality have, as a side effect, reduced the image to a ‘disposable’ consumer good. These phenomena, by denying any need for slowness, interfere with the role of the image, as a revealer of compositions. Building on these premises, this review examines some of the works produced within the ‘Drawing of architecture with design workshop’ course, aiming to define multiple, renewed spatialities through observation and transcription. Students were invited to individually interpret a work from the Soviet artistic avant-garde, a prolific exploration of form in space and its relationship with other forms, colours and textures. The first act was to consider the starting image as one of the possible views through double orthogonal projections or in pseudo-axonometry, a method that intrinsically aligns with the interpretative potential of these representations. The next step involved a further transcription process, from drawing to a physical model. Once the image had occupied its own spatiality, it needed to be translated into a photographic composition, sculpted by light and shaped by the interaction of transparency and opacity. The need to give new form to geometric abstractions stimulated reflection on the meaning of drawing within the territory of reality. The reinterpretation, shifting from the infinite space of the virtual to the finite space of the material-passing through the two-dimensional plane of the drawing board allowed for an exploration of the communicative possibilities of the representation tools. The resulting spatialities and photographic views highlight the theme of the image and its relationship with its double. A reverberation of ‘simulacra’ changing shape to generate layered images, evoking the observation of new objects, new images and new spaces.