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ARTisSpectrum | Volume 29 | artisspectrum.com
What principles have informed your art and architecture?
In the interest of drawing a connection between the approach and execution of these two disciplines, we invited four
prominent Agora Gallery artists, Lawrence R. Armstrong, Anders Lidholm,
FrédériqueK
 and George Oommen, all former
and current architects by trade, to answer this one question.
In my research, I found an immense amount of literature around this very topic, bridging the worlds of art and architecture,
which have historically been classified under one school of plastic arts.
In the New York Times article “Architect as Artist,” Benjamin Genocchio opens with the names of prominent Baroque
and Renaissance artists, as Lorenzo Bernini and Michelangelo, whose professional trades were in painting, sculpture
and architecture alike.
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 Such renowned artists gained their reputation as creative geniuses due to their ability to be
multidisciplinary. Looking forward to the Twentieth and Twenty-First centuries, we continue to unite design communities
while recognizing and celebrating the individual artistic processes involved. Through retrospective such as, “Frank Gehry:
On Line” at the Princeton University Art Museum and “Architecture of Invention: A Bertrand Goldberg Retrospective” at the
Art Institute of Chicago, we elevate preliminary designs and sketches to works of art.
However, none other was as direct in linking art and architecture as The Bauhaus — “School of Building” — of the early
to mid-Twentieth century. The Bauhaus model promoted a rounded approach to design education, drawing together
the Academy of Art and the School of Arts and Crafts. Under the direction of Walter Gropius, as well as two succeeding
directors, the Bauhaus acted as a laboratory for modern interior design, typography and architecture, to name a few.
It was best described by historian and critic Sigfried Giedon as “made to unite art and industry, art and daily life, using
architecture as an intermediary.”
Giedon went on to parallel the architecture of the Bauhaus building at Dessau with
Cubist art of Pablo Picasso, in particular L’Arlesienne, for their similar treatment of and foundation on formal elements.
They furthermore applied the concept of deconstructing and uniting: Bauhaus in its wide spectrum of art concentrations
under one roof and Cubism in its multiplicity of perspectives on one plane.
While the two specializations are indeed separate, the fundamental practicalities and products of art and architecture are
notably comparable, as many of our artists expand on in this article. The direct influences that extend architecture from
being purely functional to art are undeniable.
The following responses from Agora Gallery artists to the question — What principles have informed your art and
architecture?—present a range of contemporary perspectives built on professional experiences and applied knowledge.
The
Ar t
of
Arch i t ec ture
By Christine Vittorino
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