Formal-Spatial Approach in Architecture and Painting: a Case Study on the Works by Mehrdad Iravanian and Alireza Taghaboni

Document Type : Research Article

Authors

1 Ph.D. Candidate in Architecture, Department of Architecture, Karaj Branch, Islamic Azad University, Karaj, Iran.

2 Assistant Professor, Department of Architecture, Abhar Branch, Islamic Azad University, Abhar, Iran.

3 Assistant Professor, Department of Architecture, Hamedan Branch, Islamic Azad University, Hamadan, Iran.

4 Assistant Professor, Department of Philosophy of Art, Hamedan Branch, Islamic Azad University, Hamadan, Iran.

Abstract

Problem statement:The architecture-painting relationship is one of the study fields in the theory of art and architecture. Although architecture is a combination of practical concepts, it can be studied in relation to painting focusing on form and space. Meanwhile, in creating an artwork, if an “artist” is assumed as a fixed variable; the question is that how his intellectual structure affects the creation of form and space in two media, and how it connect the two art regimens.
Research objective: This study addresses the works by architects who work in both areas. It is assumed that the architect’s skill from the distance of imagination to depicting mental schemas as a painting leads to the dissemination of his thought, affecting the creation of his architectural work and spatial thinking.
Research method: The present study was performed using a qualitative comparative analysis technique concerning Kerry Walk’s model. The study model was a combination of spatial tendencies and semantic approaches of form and space. In the first section, the paintings by Mehrdad Iravanian and Alireza Taghaboni were analyzed using Wolf Lane’s formalism method. Next, the concepts of their architecture form and space were examined. The achievements were concluded based on theoretical studies and experimental data through a descriptive method. Finally, a comparative analysis was performed to clarify the architecture-painting relationship.
Conclusion: It seems that the artist deals with the objective concepts of the work at the levels of “basic” and “functional” in two completely independent areas, and the subjective concepts at the “value” level, which can be adapted to the intellectual structure of the artist. At the “symbolic” level, by transferring some formal approaches from painting to architecture, the architectural work gets closer to its artistic aspect and acquires an aesthetic aspect.

Keywords

References

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The Monthly Scientific Journal of Bagh-e Nazar
Volume 19, Issue 106
April 2022
Pages 5-18

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