Metametaphors and Mondrain Neo Plasticm and Its Influences in Architecture

8/12/2019 Metametaphors and Mondrain Neo Plasticm and Its Influences in Architecture

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Metametaphors And

Mondrian: Neo-Plasticism And Its

Influences In Architecture

By Barie Fez-Barringten

www.ariefez-arringten.com

5,431 words on 23 double spaced sheets

A re!iew of an original wor" y Adulaziz Al-#aati

$Mondrian: Neo-Plasticism and its influences in Architecture$

%riginal Article &ulished in %ctoer '-() '**+ issue of the

,ournal of the Faculty of Architecture of the

Middle ast echnical /ni!ersity 0M.../.1

2r. Adulaziz Al-#aati was the 2ean of the

3ollege of Architecture and Planning of

4ing Faisal /ni!ersity in

2ammam) #audi Araia while I was &rofessor of Architecure from '**' to '**5.

Introduction:Introduction:

In an age where subjects, issues and themes come and go; where there are no heros nor

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http://www.bariefez-barringten.com/http://www.bariefez-barringten.com/


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villains we tend to rely upon the imagination of artist to conjure figures for our entertainment

!e benefit from persons who e"emplify high ideals, whose lives have met e"emplary standards

In this way persons are types of metaphors, embodiments and archetypes with whom we identify

!e can also turn to other conte"ts of our not# so#distant past to find both heros and issues

Issues which are today as relevant as they were yesterday, but with a commitmentsurpassing

momentary benefits and rewards, pomp, glory or success $hroughout %l#&aati's analysis of

(ondrian this commitmentandperseverenceis between the lines )1*+-ut, he maintainedthe

idea of hori.ontal and vertical lines with the right angles /ven, in contrast to so many others

who were pursuing material form and its representation

%rtists such as 0an ogh and icasso needed to live through their wor The art is

everything %rt identifies with life It is an e"perience amongst an infinite range of possible

e"periences which sanctifies a segment of the world and, which gives one a uniue identity It is

a uniue set of e"periences upon which one can build It is also the basis for communications

with others $his is the cruxof metaphorwhere we thin our way intolife through e"perience,

observations and assumptions If we don't follow#through and create them we readand

appreciate the metaphorsof lives which parallel our own $heir metaphorbecomes ours !e

share, as (ondrian and van

)1*+ %%l#&aati; Mondrian: Neo-plasticism and its influences in Architecture$

oesburg, a common desire to mae a difference in a world which was owned by the

heros of yesterday !ithout our tenacity it will remain their property$he combination of the

(ondrian6van oesburg world is a metaphorof true apparent aliens with one about artand

paintingand the other about architectural )1*+expression of life, art and technology $hey

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converged on (ondrian's concept that a )1*+wor of architecture is made up of planes possessing

a multi- sided plasticity in accordancewith the theory of relativity $his concept was an

outward e"pression of an underlying essence !hat follows reveals that essence

(ondrian's principles are limited and specific to the two dimensional surface which he

adamantly defined In addition to the other differences between him and his predecessors )and

contemporaries+ he also noticed that the others were involved with emulatingthe three#

dimensional world on two#dimensional surfaces 7e experiencedthe delight of restraint

subordinated to the discipline of two#dimensions, including the point and its e"tension into a line

$he choice of ninety degrees was all in respect to the dimensions, proportions and properties of

the angles and si.e of his canvas 7is preoccupation with tones, color and the unused spaces

respected the two dimensions not even allowing his primaries, tones or unused space to either

appear to lift or recede from the plane 7is wor wasplanerand two#dimensional $hen

how can we understand his e"perience when he added the third dimension8 It was more than

)1*+constructing lines, planes and color weight It was not three#dimensional space, planes in

space nor color which had weight nor the analogies they might conjure

)1*+ %%l#&aati; Mondrian: Neo-plasticism and its influences in Architecture

It was purely and simply placing his two#dimensional principles into a relationship with

three#dimensional reality and letting one influence the other 7is alien two#dimensional

standards, theories and principles transformedthree#dimensional thining Indeed, by

themselves, (ondrian's principles are limited by his own very full e"perience with the world of his

discipline but much of what can be said of two can also be said for three dimensions

-uchminster 9uller additionally moved his wor from the third to the fourth and so on

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7owever, -ucy's movement was linearfrom the first to the forth and fifth etc through a

geometry of dimensions $his is not true for (ondrian

MetametaphorrevealsMondrianwhen he compares )1*+:eo#lasticism and color he

describes its pure and definite color withinplanes which )1*+remain euivalent to the surface of

the picture! in other words, color remains flat on a flat surface"# "Neo-$lasticism is still

pointing says (ondrian "its means of expression is pure and definite color, in planes which

remain euivalent to the surface" (ondrian's metaphoris his e"perience with a common

conte"t of the flat surface which incorporates elements composed into relationships by means of

expression )2*+$he artist's e"perience employs the painting techniue to 1reveal his e"perience


1 revelare $o uncover; insight; e"pose; to mae something hidden nown

)2*+ odds, %n the place of Architectural &peculation$

Metaphor:

0'.+1%rt is the maing of metaphors %rchitecture is an art because it too maes

metaphors $he artist as metaphoriciane"periences the world which he e"udes through a media

!hat is produced we call a wor of art, painting, sculpture, dance, etc, which only annotates its

distinctive media but is not itself what is art %rt is a metaphor %ll wors of art have that in

common $hey are instruments of change, transfers and transformers $hey are composed of

components, assembled of parts, etc and whose parts interact in a certain way

1Metaphoris associated with afigureof speech in which a wordor phrase literally

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denoting one ind of object )or idea+ is used in place of another to suggest a lieness or analogy

between them -y applying the concept of metaphorto all arts, including architecture, we

e"pand the scope of the metaphor'susual application to speechusing other communications

vehicles which may substitute wordsfor color, form, shape, scale, movement, gesture, sound,

harmonics, mass, volume, etc !e do so to enhance our understanding of any one and all 2arts

and to see the relations and interactions of one to another 2art It is based on our assumption that

the message of one form may be e"pressed in another $here are commonalities and differences

between one and other vehicle but they wor essentially the same It is howthey wor, and that

they are the embodiment of an e"pressed e"perience )which can later be read+ that lins them

together It is their ability to e"press one thing in terms of another and mae the strange familiar

that they all have in common


1 Metaphora: metapherien to transfer # to bear

2 Art ars arm

$heir sill is conscious and acuired by e"perience, study or observation !hen we

apply the metaphor'sstructure, operation, use, etc outside of literature we are changing its

scope In that way we designate a new but related form designed to deal critically with the

original &o we can call our e"panded form 1metametaphor)$his is discussed in detail later in

this article+

Metaphorsinclude alien with nown elements assembled on the basis of common

essences (ondrian's neo#plasticism is replete with such influences and transformations )1*+eter

-lae and 0incent &cully both claim that (ondrian and de &tijl were influenced by !right's

wors $heMetaphors, indeed, wors in two directions If metaphorsare a result of

communications then )11+


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from numerous discussions with van oesburg and (ondrian

$he influence, wor and projections of (ondrian form his commitments, conte"t and

media to architecture is metametaphoric It is not analogous, logic or scientific &ince there are

already many e"amples of the applications, use and e"periments using :eo#plasticism in

architecture we can benefit by analy.ing neo-plastic metaphors -ut first what are the peculiar

characteristics of the metaphor

1 Meta change, among, with; as a prefi" to modify

)1*+ %%l#&aati; Mondrian: Neo-plasticism and its influences in Architecture$

)11+


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B %re interactive and dynamic; and

> %re a manifestation of composer's creative e"periences

The Mondrian Metaphor

()#*+Art of uildingestablish the harmonious proportions between ourselves and our surroundings

)%%l#&aati; de&tijl, 11, p53+ $he art of painting has demonstrated abstractly what the art of

uildinghas got tomae, 1tangile Cpon what basis can the art of uildingachieve what

paintings' accomplished )12+hat are our actual surroundings today6 e are living in

someody else's house with someody else's furniture, carpets, china, paintings $he

metaphorof art to architecture is a call to e"perience a common mission

1 Tangere to touch; capable of being perceived; material; especially by the sense of touch

)12+ 7DD 45;52+

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1 &cale something graduated in ascending or descending proportions to establish measureddistance relationships, and dimensions % distinctive relative si.e, e"tent; or degree

2 .emonstrare to show muster to prove by reasonable evidence

3 $lastic$lasti/os0$lassein forming; developing three dimensional art vs something thatis written $o put into a three#dimensional form Eeify cancretise, formali.e, etc

)12+ 7DD 4>,, 5?+

1 Archienand typos;type the original pattern or model of which all things of the same

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type are representations or copies prototype; a perfect e"ample

)1*+ %%l#&aati, Mondrian: Neo-plasticism and its influences in Architecture$

)13+ (ondrian, $lastic art and $ure plastic art, si" essays, !ittenborn and Do, :ew

For

It is when we apply metametaphorsthat we can appreciate that (ondrian was not maing

rectangular patterns on a two#dimensional surface but e"tending the essence of linear elements

asymetrically in tension and intersecting in common space /ach of the apparently unrelated

elements of lines, directions, a"is, place, level, attitude have commonalaties of angle, direction,

intersection (ondrian's sills with each of their differences and their commonalities is able to

e"perience their 1neutrality $he commonality in the metaphorbelongs or is shared by two or

more elements It is because there are commonalities of the elements at some level that one or

the other interact and transfer properties Neutralityis a type of commonality of (ondrian's

e"perience seeing the euiposeessence $he essence common to all the elementsin his

e"perience $he elementsof neutral forms and free lines Eectangular relations, intersections

and rectangular forms are the bi# products )eace a body at rest tends to stay at rest unless

acted on by an outside force+ )1*+$he object of (ondrian's art is a recognition that the

rectanglehas been established by non figurative art which progressively defined 2its limits until

free lines intersect and only seem)appear+ to form rectangles Implying that the rectangle form

is only its outword aspect It is what is evident, but it may not in fact be the intention Fet all

such applications of form's principles of asymetrically spaced lines in a dominant, tertiary and

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subdominant relationship create both a tension and euipoise of rectangular shapes elements both

because of their commonalities, and by his sill, their differences 7e is able to engage the alien

with the familiar so that they interact and dialog with each other and the reader6perceptor It is

that he first e"periences the essence of euipoise common to both


)13+ (ondrian, $lastic art and $ure plastic art

1 NeuterNeutre neither, not, uter; intranitive; taing no side, indifferent; neutralis

2 determinare:having defined limits

$he elements forming (ondrian's metaphor are his )1*+e"ploration of hori2ontal and

vertical themes $he e"ploration itself proved that )1*+this theme has a reality of its own )1*+$his

principle could be 1impliednot only in painting but also in other media ie architecture $he

metaphor'selements implytheir characteristics to each other $he alien element entwines itself

around the familiar and the familiar suggests its characteristics to the alien It is a dynamically

interactive process /ach transform the reality of the other because of their commonality $he

identity that they both share to be able to be implied must e"ist, be operative, be a )1*+universal

principle, and a source of both life and language $o wor within a metaphorit must be an

elementhaving commonalities, differences and essence)s+ It must be capable of being

personali.ed and adapted by architects and intergrated along with other principles It must

interact with other principles on the basis of their essences

$he element of color participates in (ondrian's principles and composes his metaphor

(ondrian tests his principles by introducing primary color and not all of their infinite subtle

variations =ne can see that their undisturbed properties can coe"ist in euipoise with their

opposites because of other principles at wor rinciples of the metaphorheretofore considered

incidental $he principles of position uantity, and shape


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1 Implicare suggest; enfold, entwine; to involve or indicate by in ference association or

necessary conseuence rather than by direct latent

)1*+It is from within this euilibrium of disparate elements from which it draws its great sense of

strength and clarity that 1mar/sa genuineMondrian $here is another dimension to (ondrian's

use of color which itself defines and creates space Dolor has visual and psychological

implications and for this to eually be carried-over from painting to architecture they must be

e"perienced by the architect, composer and assembler of the metaphors $he architect's

e"perience of a metaphor which includes color will result in a colorful manifestation $he

architect will reify what he e"periences !ithout a personal e"perience of the elements and the

proper functions and use of color the metaphorwill be colorless and ultimately result in merely

painted surfaces

&igns, &ignals and Mar/s:

Mondrian"is a fundamental unit which now designates a /indof painting It has taen

on a 2syntacticfunction being both its own metaphorand part of a metaphorbeyond its own

e"istence Itself it has become an3

essence being distinct enough to have a sovereign essence

$his essence has often found commonality with other essences with which it participates

Mondrians have their own conventional meanings and can be used instead of the:eo#plastic principles to represent their comple" notions In this way Mondrians are a signmetaphor emodimentof the man and his principles (ondrian, the man and his name have

become synonomous with his wor $he metaphoris a signof its composer and the composer'saccess to his society (ondrian's wors and his society are transformed, changed and bridged byhis wor

)1*+ %%l#&aati, Mondrian: Neo-plasticism and its influences in Architecture

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1 mears distinguishing trait; characteristic; identification; symbolic; sign

2 &yntassein to arrange together; tactics; systems )orderly, connected+ harmonious arrangement of parts orelements $he formal properties of (ondrian's art

3 essentia the permanent as contrasted with the accidental element of bearing; entity; the individual, real,or ultimate nature of a thing; the properties or attributes by means of which something can be placed in its properclass or identified as being what it is a derivative possessing the special ualities )abstract+ in comment form Inthis way (ondrian's language uses the language of science

7is wor is a product of his e"perience and we now him by the bridges, ticets, signs,

transformers, vehicles and assemblies he paints %ny one of (ondrian's wors are a mar/

inherently charactristicof all of his wors $he characteristicsof his collection are represented

by the general outward appearance but is in contrast to what is e"ternali.ed (ondrian's mar/is

both his own interpretation of his principles and the craftof his e"pression 7e is both artisan

and artist $he two are one and culminate in the mar/of (ondrian his distinctive wor /ach

Mondrianis a to/enof the collection of (ondrian $he wor serves as an outward proof of the

now intangible past in which his e"perience too place $hey are a toen of :eo#plasticism, art,

artisan, craft, perceptions, etc $hey are a symptomof an internal metaphoric process conducted

by (ondrian as he created, and in his wor as oneperceive $he wor is a change mechanism

which conditions the way in which we thin about two#dimensions, balance, lines, color, space,

canvas and paint !e see the craft designs and (ondrians preoccupations

It is a ind of 1geometri.ing preoccupation eometry transforms art and art transforms

geometry (ondrian's wor is his signature )&ignare+ -y his wor the mind and spirit of

(ondrian materiali.es /ach wor manifests (ondrian the e"periencing artist

1 3eometrein measure; a branch of mathematics that deals with the measurement,

properties and relationships of points, lines, angles, surfaces and solids the study of properties of

given elements that remain in varient under specified transformations )%rabic (ohandis+

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MetametaphorMetametaphor:

)12+$he abstractly realistic artof painting is therefore, meanwhile )until architects

representpurely well#balanced proportions+ the life#saving substitute !hy life#saving unless

this comment by (ondrian in de&tijl euates representingwith restoring vitality, functionality,

and animation of the etheral nature of man &omething was close to death and was about to die

It could be e"humed It is 1representing which is life-saving !hat about representingis

life#saving8 (ondrian is a typewhich identifies himself through his art $his identityis the life

which is saved and it is by the conscious use of the sill and creative imagination in the

production of his metaphorthat life is reali.ed In other words, one might be living and

breathing but this is about lifebeyond natural survival It is about perception and being the

vehicle to representthe ideas that are created within $hey only are created because one is

responsive to, in turn, represent them Eepresenting them in turn stimulates new and more

elaborate ideas etc -eing emptied out by representing creates a new vacuum which again gets

filled $his is the life to which (ondrian alludes and the one which metametaphordescribes

It transforms and carries-over from one to another conte"t

1 representare to present to bring clearly before the mind to correspond to in essense;4onstitute

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(etametophor too is )1*+Mondrian's vision aout the concept of architecture of

planes possessing a multi-sided plasticity in accordancewith the theory of relativity $his

concept made him attac the idea of architecture as a form of mass $his observation is both a

specific departure from the principles of :eo#plasticism while being faithful to his observations

)13+recogni.ing laws of relationships between science and art (etaphoric thining is responsible

for transferring observations about science to art and vice#versa It is not analogy It is from two#

dimensional thining about the variability of lines and their placement that springs a

lie#possibility for planes $his is use of metaphoric analogy Aines projected up became planes

and can vary as lines0planesninety degrees to the flat plane of the canvas and projected toward

(ondrian into space %fter all, what was true of lines he probably deduced, can also be true for

planes -oth describe space 9or (ondrian's paintings two#dimensionalflatspace while for

architecture, three#dimensional volumetricspace /ven (ondrian did recogni.e that architecture

had not only a sculptural but a functional dimension $his too had to be incorporated into the

metaphor It is where (ondrian found his limit and where his :eo#plastic principle's specificity

reaches inherent limits $wo is not three dimensions and while they have a common essence they

are distinct 9ine is not applied art and while they too have a common essence they are distinct as

well Metaphorhave comonalities and differences =ne of the assertians of the theory of

relativity is that the euivalence of mass, energy and change in mass's dimension, and time, come

with increased velocity


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)13+ (ondrian, $lastic art and $ure plastic art si" essays, !ittenborn and Do, :ewFor

$his concept of relativity, proportion and interaction is a metametaphoricway of (ondrian

e"periencing the unity of his wor with the universe It was his way of his wor being the

metaphor, transfering him from the mundane to the ethereal )14+(usic sometimes gives us the

sense of absolute, so music represents something beyond itself, it represents the universe %ny

of the arts in the purist form can carry us out of one to another conte"t

Metametaphor of MondrianMetametaphor of Mondrian

$he metametaphorsof (ondrians )15+general principles of :eo#plasticism are

)15+1 :on#colored two dimensional areas can be euated to three#dimensional space

defined and limited by material in three#dimensional architecture and color in two#dimensional

painting

2 /uivalence is the commonalityof the ingredients composing the metaphor

$hey are the media in the techniue $hey may have differences but commonalityin eual

value /ven the bounded and limited space must be considered with the materials describing it in

balanced proportions so that they are in euilirium

)14+%rnheim, 1>32

)15+(&euphor, )1>?28nd+ $iet Mondrian, 6ife and or/

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3 The duality opposing elements in the plastic medium is also reuired in the

composition %s the metaphorthe neo#plastic must contain at least two 1opposing elements

4 Aiding euilirium is achieved through opposition$ where themetaphoric

language is the straightline, the synta", the right angle, the common essence and the aiding

euilirium /"trapolating this principle into architectural metaphorsresult in metametaphor

5 $he content communicated by the metaphoris the essence common to its

elements the euilibrium that neutrali.es and annihilates the plastic means is achieved through

the proportions within which the plastic means are placed, and which create the living rhythm

$he techniue which forms the metaphorwill be dominated by the scale and meaning of the

metaphor

@ All symmetry shall e excluded and all metaphorsshall e"clude familiar

elements are two similar theorems $he elements of a metaphor must be asymmetrical being

composed of aliens as well as lie inds being the other of a pair that are corresponding or

complimentary in position, function or nature %ntithetical; seemingly irreconcilable things in sharp

contrast or in conflict; e"treme divergence the necessary in (etaphors being in a common

conte"t having underlying commonality

Metametaphorof (ondrian'sNeo-plastic and formis an abstraction of art's uality of

compositionwhich is "the *plastic expression the image".

1 o:against Gponnereto place to place opposite or against something to provideresistance, counterbalance, or contrast Dontrary; in tension; occupying an opposing and oftenantagonistic position; diametrically different )as in nature or character+ opposing meanings

2 plasti/os developing forming )thromboplastic+; a visual art; into a shape

$lasticism of relationsvs 1morphoplasticismasserting the commonality of composition

versus 2emulating nature's forms and colors )1*+In nature,3relationships are veiled by matter

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appearing as form, color or its natural properties In nature architecture and art metaphorsare

usually veiled by an over emphasis on materials, structure, systems, and many other of

architecture's functioning or defining elements 9ew appreciate the metaphoricdimension of a

wor nor can readthe wor /ven less care to try Cnless the wor is the result of an e"perience

common to both composer and user or more unless the wor dramatically revealsits creative

e"perience to the reader it will remain irrelevant

Metaphorsare a relationship between e"ternal and internal )1*+mind and nature)

$individual and the universe and man and society In this sense (ondrian refers to)1*+alance through the euivalenceof the above creates harmony $o (ondrian :eo#

plasticism is the reservoir of complimenterities $o &erge Dhermayeff it was theprinciple of

complimentaritiesand in metametaphorit is the metaphor

1 Morphism: morphus conceptualism; a study and description of word formation in alanguage including inflection, derivation, and compounding $he system of word#formingelements and processes in a language; a study of structure and form (orphoplasticism is then

then system by which a wor is formed rinciples of forming a wor

2 Eeaders may refer to author's discussion about mimesis in &audi Ara IslamicMetaphor $erspective )as yet unpublished and

)2*+ odds, %n the place of architectural speculation

3 relatus the uality that connects to or more things; parts woring together as being thesame ind Eeciprocally interested; intercourse

)1*+%%l#&aati, Mondrian: Neo-plasticism and its influences in Architecture$

)1*+Neo-plasticism demonstrates the exact order. It stands for euity, ecause the

euivalence of the plastic means in the composition demonstrates that it is possile for each,

despite differences to have the same value as the others $his definition of neo#plasticism

parallels metametaphoradding the dimension of the metaphor's form $he metaphorbenefits

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from the inclusion of aliens It transforms, changes and bridges but is not euitable It has an

order and is consistent Its rule for euivalence is essential for seemingly disparate elements to

enter the same conte"t Cltimately each element must have the same valuein order to retain

conte"tual purity =ne would otherwise dominate and interfere with the interaction between

elements

It is one thing to write about metaphors and neo#plasticism but another to e"perience and

produce them Metametaphorsand neo-plasticismare both the results of a e"panded scope of

e"perience reaching beyond the limits of their own art to embrace the arts of others It is an

attempt to share lessons of ones media-specifice"perience with that of others it is, too, a hope

that one may further e"perience from others lessons to further apply into ones own media it is

reciprocal In itself it is 1creative

1* %%l#&aati, Mondrian: Neo-plasticism and its influences in Architecture$

1 create to bring into e"istence; to invest with a new form and produce through

imaginative sill; design; invent

4onclusion4onclusion:

Cnlie metametaphor) neo-plasticism is lined to (ondrian and with or without neo#

plasticism many were influenced by (ondrian's products 7is writing's and further wor with

de&tijl and the -auhaus were another

wor !orthy, but separate from his paintings )1@+Cndoubtedly, (ondrian's principles of the

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crossing lines, his tersely balanced proportions, and his planes of primary color inspired the

international style $here can be made comparisons of forms and principles between the wor

of 9A!right and E:eutra -ut again much of what (ondrian said was about form and

principles governing form 9urther to what he said about form and more germain to %l#&aati's

closing remars are about the applicability of (ondrian's principles to suit user's needs

%rchitects should suit the needs of the users and not of themselves 7ow to interact etween

users and organi2ers8

(ies van der Eohe, 9ran Aloyd !right, Eichard :eutra, eter -lae, van oesburg,

errit Eietveld, Desar elli and so many others have first e"perienced the limits of their neo#

plasticism as a personal vision before that vision became manifest it is they where#in the

metaphor was first berthed $hey e"perienced the elements and in their nowledge of them they

applied the sill and learned principles to bear the e"perience and process of creation to form the

metaphor (ondrian is indeed an archetypefor those that followed In him formed a metaphor

of neo#plasticism which reproduced itself into paintings, journals, boos, movements,

architecture, furniture etc

)1@+0 &cully )1>@*+ 8#6#right -ra.iller Inc :ew For in %%l#&aati, Mondrian: Neo-plasticism and its influences in Architecture$

$here are so many analogies that one can draw from (ondrian and see in the entire

modern art movement -ut there is also the unseen and less programmatic which was his own

burning desire to reclaim lostterritory 7e did it through his art 7e called it life saving 9or

most artists, composers and assemblers of metaphors, creation and manifestation is not an

e"ternal matter but the natural result of their life's e"perience $hey are the 1artof their sill and

the vision incarnated they and their products are a ind of metaphor roducts are the vehicles

by which we read and re#create the e"perience they had getting it together $he metaphoris an

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artist's manifestation It is neo#plastic It is )1*+Nieoweeelding)new plastics' or neo#plasticism+

It is the e"ternali.ed manifestation of an internally created vision It is a metametaphor#

)1*+ r &choemaeers; %%l#&aati, Mondrian: Neo-plasticism and its influences in

Architecture

1 art: art:arm, sill; nowledge

9eferences:9eferences:

)%ll the below references are from %l#&aati,

)1*+ %l#&aati, % )1>>*+ Mondrian: Neoplasticism and its influences in architecture

)(iddle /ast $echnical Cniversity ??+ The dynamics of architectural form Cniversity of Dalifornia

press -ereley

-alju, ?4+ Theo van .oesurg, (ac(illan ublishing Do,, Inc, :ew

For

-lae, )1>@@+ Mies van der 9ohe, architecture and structure, enguin boos, -altimore

-ugignani, % )1>@B+ Mondrian, $hemes and 7udson, Aondon

re"ler, % )1>@@+ 6udwig Mies van der 9ohe, eorge -ra.iller Inc, :ew

For

idion, & )1>?3+ &pace, time and architecture, 7arvard Cniversity ress, :ew

For

)12+ @?+ de&ti5l, $hemes and 7udson, Aondon

)15+ &euphor, ( )1>?28 nd+ $iet Mondrian, 6ife and wor/, 7arry :%brams, Inc, :ew

2*


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For

&euphor, ( )1>?@+ Mondrian and his time, )(ondrian and de &tijl, alerie mur.ynsa

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Metametaphors and Mondrain Neo Plasticm and Its Influences in Architecture