| Přispěvatelé: |
Such, Carmen Jordá, Palomares Figueres, Maite, Tostões, Ana, Pottgiesser, Uta, Architectural Engineering |
| Popis: |
The boundaries between painting, sculptural work, and architecture blurred during the era of modernism, when both architects and artists designed interiors, furniture, textiles, and artefacts in which colour was used as a catalyst and an architectural tool. The parallel fields of interest partly explain the attraction of many artists to the architectural environment. At the same time, architecture provided the possibility of realising artistic principles in social reality and thus integrating art into everyday life. Belgian avant-garde artist Victor Servranckx is renowned for his abstract geometric paintings and sculpture, but his experiments as a versatile designer and architect are less well documented and known. From the 1920’s onwards, Servranckx shifted the boundary from the two-dimensional canvas to interior space, and he collaborated with architects of the first modern-movement generation whom he befriended. For this reason, he even ceased painting for one year, in 1925. The major objective of this article is to reflect upon and raise awareness of the interplay between the avant-garde artist and architect in the Belgian context, focussing on Victor Servranckx’s remarkable dialog with like-minded architects concerning interior design challenges. The findings are based on a maximum synergy and complementarity between archival records and published literature of the epoch, and on-site material-technical observations. |
