El Lissitzky, Russian-born designer, painter and avant-garde artist, led the avant-garde movement of art to construction through its Prouns. Lissitzky began making his Prouns in 1919, which infused the flat geometric forms of Suprematism with a sense of virtual architectural space. Lissitzky uses axonometric projection instead of two-dimensional color planes, as Malevich did in his Suprematist composition. Using the rules of traditional Renaissance perspective, Lissitzky would draw a geometric figure then rotate it 90 degrees adding a new volume corresponding to the new orientation. This blurs the viewer's relationship to the composition, which contributes to the description of the Prouns by art historian Yve-Alain Bois as a "radical reversibility". El Lissitzky describes perspective as something that limits space and made it finite and closed, but Suprematism extended this finite visual cone of perspective to infinity through axonometry. Unlike perspective, axonometry moves the vertex of a visual cone toward an infinite point. Perspective is the means of expressing the limited world where the human center is fixed. This limits the space in the visual field where humans have a fixed perspective. Perspective is the technique for realistically representing volumes and spatial relationships on a flat surface. It is the art of representing three-dimensional objects on a two-dimensional surface and positioning them relative to each other when viewed from a particular point. A perspective drawing is constructed using the observer's eye level and the vanishing point. It is the view from a particular fixed point of view; however, the axonometric projection removes the vanishing point, adding volume and depth to the image. Perspective can be used and interpreted in different ways through various artistic and architectural movements which also contribute to the transition from art to construction. Say no to plagiarism. Get a tailor-made essay on "Why violent video games should not be banned"?Get the original essay New Man by El Lissitzky, lithograph on paper, is a two-dimensional conception of the electro-mechanical spectacle "Victory of the Sun". It incorporates geometric abstraction, the limited color palette of Suprematism and the multidimensionality of Proun images. The red square represents the torso of the figure of the New Man and his head is composed of a red star and a black star. New Man represents an axonometric projection where the arms, legs and head are stretched. The image relates to the geometry floating in the space of the Prouns. In the avant-garde movement from art to construction, Lissitzky's Prouns defined as suprematist the ideas of two-dimensional forms that were transformed into three-dimensional architecture. I recreated his work, New Man, where I transformed his work from a two-dimensional piece into a three-dimensional architectural work representing the movement from art to construction. The reimagined figure was recreated using space-occupying three-dimensional objects and placed in an empty room hanging on the wall. By hanging these objects on the walls of a room, it becomes a sculpture rather than a print. This sculpture is now able to interact with the room and constitutes an articulation of space, energy and forces, rather than aesthetics. This work of art can now be viewed by interacting with the objects themselves. Lissitzky's original piece of the New Man figure uses an axonometric projection where the vanishing point is distant atinfinity and thus removes it from the image. The image appears three-dimensional as it shows depth from its projection, however, by reimagining it in his Proun Room, it becomes a form of architecture involving the movement of the viewer in order to apprehend the space. Abstract artworks are displayed and physically hung on the wall, allowing viewers to physically interact with the space. Axonometry in Lissitzky's Prouns forces the viewer to make constant decisions about how to interpret what they see: is the figure hollow or in relief? Furthermore, Proun 19D is another work by Lissitzky that meets the criteria of perspectival ambiguity. The upper left corner of this piece incorporates polychromatic and dispersed geometric shapes that create a multitude of viewpoints confusing the viewer and disrupting their spatial relationship with the picture plane. Lissitzky's two-dimensional prints of Proun images and his three-dimensional Proun Rooms works give rise to a multitude of viewpoints blurring distinctions between real and abstract space. It was an area that Lissitzky called the interchange station between painting and architecture. His Prouns use materiality, shape, color, line, transparency and opacity. Lissitzky eventually extends his practice from Proun's drawings to three-dimensional installations that transform the viewer's experience in a conventional gravity-based space and depict an uncertainty of perspective. This is evident in the recreation of the representation of the human figure when I changed the medium to a three-dimensional installation collaged using three-dimensional objects. Ultimately, both Lissitzky's original New Man and the recreation of New Man explore spatial elements using shifting axes and multiple perspectives; two rare ideas in suprematism. However, the difference is that the original piece uses flat 2D geometric shapes with a sense of virtual architecture giving viewers an illusion of multidimensionality whereas the recreated piece is a 3D installation. This makes it a form of architecture where volume and depth are not an illusion and viewers can interact with the objects. Thus, it is evident that Lissitzky's exploration of axonometric projection and Proun images transformed two-dimensional color planes into three-dimensional architecture in the modern era. The use of perspective and the transformation from art to construction is also evident in many other works of the modern era. the modern period. Mies van der Rohe's urban design proposal for the Alexanderplatz competition in Berlin incorporates existing aerial views. The proposal is drawn on an urban aerial photograph and the model is placed on the photograph. In a sense, the two images are stuck together, like the reimagined version of the New Man, where three-dimensional objects were stuck together in the style of his Proun Rooms. Mies used perspective as his primary visualization tool, but he opposed the exploration of axonometrics. Architects such as Mies introduced distortions to make their ideas more explicit. For example, his 1935 Hofhauser sketch is based on distortion. The image gives a panoramic effect because the right and left of the image represent different perspective constraints. Furthermore, the counter-reliefs of Vladimir Tatlin (1914-16) were also three-dimensional assemblages made from ordinary industrial materials. These were organized into abstract multi-layered configurations of elementary geometric shapes. Lissitzky's Proun Hall and Tatlin's counter-reliefs are bothmade from similar materials, such as wood and metal, that do not require frames or spatial boundaries. Tatlin was intrigued by the flexibility and durability of these materials and created these three-dimensional installations to see what different shapes and angles he could create from these materials. His counter-reliefs were made of sheets of metal and wood bent in a certain way and hung on a wall, while Lissitzky's Proun Room was more abstract and experimented with geometric shapes and linear vectors wrapping around corners wall and ceilings. The term counter-relief reinforces the exchange between matter and void. Reliefs are intended for visual appreciation from a frontal perspective and are works created through sculptural techniques. Although Tatlin's counter-reliefs do not perform an axonometric representation like Lissitzky, the relationship between mass and void produces an illusion of space and depth. In Tatlin's Counter-Reliefs, the spatial relationship is reversed: the material occupies the void and space becomes the support of the work. Tatlin was strongly influenced by Cubist ideas. Many of his other works include The Fish Monger (1911) and The Nude (1913), which were paintings using the elements of Cubism. Tatlin fragments the image and divides it into different shots. It uses curvilinear lines and rounded shapes. Although it is a two-dimensional painting, the depth and perspective are distorted and the shapes of figures and objects are simplified and flattened. Tatlin distorts perspective and breaks up shapes into different planes. Similar to El Lissitzky, Tatlin experiments with perspective and the illusion of depth in two-dimensional paintings, then expands towards his three-dimensional counter-relief installations. By making objects extend in space, it creates a relationship between the object and its surrounding space. The Bottle (1913) is another of his works that serves as a bridge between his earlier figurative paintings and his three-dimensional counter-reliefs. The Bottle combines the use of various industrial materials but has not yet been freed from the flat, restrictive pictorial surface and has not completely detached itself from the canvas and into the surrounding space. Additionally, Naum Gabo's Head of a Woman (1917-20) integrates principles of engineering and architecture into his sculptures. Rather than sculpting or casting from mass, Gabo constructs his sculptures from sets of interlocking components that allowed him to incorporate space into his work. Similar to Tatlin's figurative paintings with asymmetrical perspective and distortion of the human figure, Gabo also uses distortion but sculpts the human figure using semi-transparent materials to create an abstract sculpture that integrates space in a positive way. Perspective and movement from art to construction can also be depicted through movements outside of the modern era and as early as the 1300s through the Renaissance era. In addition to being an architect, Filippo Brunelleschi played an important role in the Renaissance movement by rediscovering the principles of one-point linear perspective that revolutionized painting and paved the way for naturalist styles. Through his experiment, Brunelleschi observed that with a single fixed point of view, parallel lines appear to converge at a single distant point. He applied a single vanishing point to a canvas and discovered a method for calculating depth. This allowed many artists of his generation to create illusions of three-dimensional space on two-dimensional canvases. Its architecture consisted of perfect geometry. All of his works used linear perspective and.