An ingenious reconstruction--and revealing analysis through "visual archaeology"--of avant-garde artist Kazimir Malevich's lost arkhitektons. Among the Russian avant-garde artist Kazimir Malevich's most intriguing works, the arkhitektons are also the most enigmatic, as these quasi-architectural sculptures made in the 1920s were almost entirely lost, along with many of the accompanying drawings, or planits. In
The Additional Element in Architecture, Pedro Ignacio Alonso and Paulina Bitrán bring Malevich's elusive arkhitektons to startling, three-dimensional life and show how these objects form a comprehensive universe that embodies the artist's Suprematism--his belief in the supremacy of pure artistic sensation in abstraction.
The book features digital reconstructions of 15 arkhitektons and planits that are lost in their original physical form. Using a method they call visual archaeology, Alonso and Bitrán explore how these structures figure in Malevich's investigations of spatial form. In the authors' view, the arkhitektons and planits constitute a series of changing configurations, or "states," rather than fixed or closed monolithic sculptures that can be reckoned with individually. They are provisional assemblages of prismatic volumes linked only by gravity and equilibrium--ephemeral arrangements that digital modeling exposes and opens to new analysis.
Along with its illustrations and analysis of the ingeniously recreated arkhitektons and planits, Alonso and Bitrán provide historiographical notes on the different appearances of these models, as well as a critical consideration of how Malevich's own conception of the "additional element" might place these beguiling figures within a wider history of modern architecture.
一項巧妙的重建——以及透過「視覺考古學」進行的揭示性分析——關於前衛藝術家卡齊米爾·馬列維奇（Kazimir Malevich）失落的建築體（arkhitektons）。
在俄羅斯前衛藝術家卡齊米爾·馬列維奇最引人入勝的作品中，建築體是最神秘的，因為這些於1920年代製作的準建築雕塑幾乎完全失傳，連同許多附帶的圖紙或計畫（planits）也一併消失。在《建築中的附加元素》（The Additional Element in Architecture）一書中，佩德羅·伊格納西奧·阿隆索（Pedro Ignacio Alonso）和保琳娜·比特蘭（Paulina Bitrán）將馬列維奇難以捉摸的建築體驚人地重現為三維形態，並展示這些物件如何形成一個全面的宇宙，體現藝術家的至上主義（Suprematism）——他對純藝術感知在抽象中的至高無上的信念。
本書展示了15個失去原始實體形式的建築體和計畫的數位重建。阿隆索和比特蘭使用他們所稱的視覺考古學方法，探討這些結構在馬列維奇對空間形式的研究中所扮演的角色。在作者看來，建築體和計畫構成了一系列變化的配置或「狀態」，而非可以單獨考量的固定或封閉的單一雕塑。它們是由重力和平衡連結的棱柱體的臨時組合——這些短暫的排列透過數位建模被揭示並開啟了新的分析。
除了對巧妙重建的建築體和計畫的插圖和分析外，阿隆索和比特蘭還提供了關於這些模型不同外觀的歷史學註釋，以及對馬列維奇自身對「附加元素」的概念如何將這些迷人的形象置於現代建築更廣泛歷史中的批判性考量。
Pedro Ignacio Alonso is Associate Professor and the director of the PhD program in Architecture, Design, and Urban Studies at the Universidad Católica de Chile. He is the co-curator of
Monolith Controversies, which won the 2014 Silver Lion for the Chilean Pavilion at the Venice Architecture Biennale.
Paulina Bitrán is an architect. She has worked as an independent researcher in projects related to art, museography, and archaeology, including installation work and production of archaeological exhibitions at the Grand Egyptian Museum in Cairo. She is currently dedicated to landscape architecture in Mexico City.
佩德羅·伊格納西奧·阿隆索（Pedro Ignacio Alonso）是智利天主教大學建築、設計與城市研究博士課程的副教授及主任。他是《獨石爭議》（Monolith Controversies）的共同策展人，該展覽在2014年威尼斯建築雙年展中獲得智利館的銀獅獎。
保琳娜·比特蘭（Paulina Bitrán）是一位建築師。她曾作為獨立研究者參與與藝術、博物館學和考古學相關的項目，包括在開羅的大埃及博物館進行的裝置藝術和考古展覽的製作。她目前專注於墨西哥城的景觀建築。
