1

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
1
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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 commitment surpassing
momentary benefits and rewards, pomp, glory or success $hroughout %l#&aati's analysis of
(ondrian this commitment and perseverence is between the lines
)1*+
,-ut, he maintained the
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 1ogh and 2icasso needed to live through their wor3 ,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 uni4ue identity It is
a uni4ue set of e"periences upon which one can build It is also the basis for communications
with others $his is the crux of metaphor where we thin3 our way into life through e"perience,
observations and assumptions If we don't follow#through and create them we read and
appreciate the metaphors of lives which parallel our own $heir metaphor becomes ours !e
share, as (ondrian and van
)1*+ %%l#&aati; ,Mondrian: Neo-plasticism and its influences in Architecture$
5oesburg, a common desire to ma3e 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 5oesburg world is a metaphor of true apparent aliens with one about art and
painting and the other about architectural
)1*+
expression of life, art and technology $hey
2
3
converged on (ondrian's concept that a
)1*+
wor3 of architecture is made up of planes possessing
a multi- sided plasticity in accordance with 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 emulating the three#
dimensional world on two#dimensional surfaces 7e experienced the 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 wor3 was planer and 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 transformed three#dimensional thin3ing 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 wor3 from the third to the fourth and so on
3
4
7owever, ,-uc3y's, movement was linear from the first to the forth and fifth etc through a
geometry of dimensions $his is not true for (ondrian
Metametaphor reveals Mondrian when he compares
)1*+
,:eo#2lasticism and color, he
describes its pure and definite color within planes 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 metaphor is his e"perience with a common
conte"t of the flat surface which incorporates elements composed into relationships by means of
expression
)2*+
$he artist's e"perience employs the painting techni4ue to
1
reveal his e"perience
)1*+ %%l#&aati; ,Mondrian: Neo-plasticism and its influences in Architecture,
1 revelare ; ,$o uncover; insight; e"pose; to ma3e something hidden 3nown
)2*+ 15odds, ,%n the place of Architectural &peculation$
Metaphor:
0'.+1
%rt is the ma3ing of metaphors %rchitecture is an art because it too ma3es
metaphors $he artist as metaphorician e"periences the world which he e"udes through a media
!hat is produced we call a wor3 of art, painting, sculpture, dance, etc, which only annotates its
distinctive media but is not itself what is art %rt is a metaphor %ll wor3s 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
1
Metaphor is associated with a figure of speech in which a word or phrase literally
4
5
denoting one 3ind of object )or idea+ is used in place of another to suggest a li3eness or analogy
between them -y applying the concept of metaphor to all arts, including architecture, we
e"pand the scope of the metaphor's usual application to speech using other communications
vehicles which may substitute words for color, form, shape, scale, movement, gesture, sound,
harmonics, mass, volume, etc !e do so to enhance our understanding of any one and all
2
arts
and to see the relations and interactions of one to another
2
art 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 wor3 essentially the same It is how they wor3, and that
they are the embodiment of an e"pressed e"perience )which can later be read+ that lin3s them
together It is their ability to e"press one thing in terms of another and ma3e the strange familiar
that they all have in common
)1*+ %%l#&aati; ,Mondrian: Neo-plasticism and its influences in Architecture,
1 Metaphora: metapherien; to transfer # to bear
2 Art; ars; arm
$heir s3ill is conscious and ac4uired by e"perience, study or observation !hen we
apply the metaphor's structure, operation, use, etc outside of literature we are changing its
scope In that way we designate a new but related form designed to deal critically with the
original &o we can call our e"panded form
1
metametaphor )$his is discussed in detail later in
this article+
Metaphors include alien with 3nown elements assembled on the basis of common
essences (ondrian's neo#plasticism is replete with such influences and transformations
)1*+
,2eter
-la3e and 0incent &cully both claim that (ondrian and de &tijl were influenced by !right's
wor3s $he Metaphors, indeed, wor3s in two directions If metaphors are a result of
communications then
)11+
<<2 =ud's artistic intentions were shaped around the 1>1?#1>1> period
5
@
from numerous discussions with van 5oesburg and (ondrian
$he influence, wor3 and projections of (ondrian form his commitments, conte"t and
media to architecture is metametaphoric It is not analogous, logic or scientific &ince there are
already many e"amples of the applications, use and e"periments using :eo#plasticism in
architecture we can benefit by analy.ing neo- plastic metaphors -ut first what are the peculiar
characteristics of the metaphor
1 Meta ; change, among, with; as a prefi" to modify
)1*+ %%l#&aati; ,Mondrian: Neo-plasticism and its influences in Architecture$
)11+ < <oedic3e )1>@5+ <<2 =ud, -aun and !ohen )>;2+ 1#2 from %%l#&aati; ,Mondrian:
Neo-plasticism and its influences in Architecture$
Metaphor's characteristics :
$he dominant characteristics of metaphors are that they;
1 &pea3 about one element in terms of another;
2 7ave an essence common to both;
3 7ave elements that are apparently unrelated;
4 7ave at least one of their elements that are alien and another 3nown;
5 (a3e the strange familiar;
@ $ransfer, transform, bridge and change;
? Ain3 reader to ma3er, user to universe, and perceptor to society;
@
?
B %re interactive and dynamic; and
> %re a manifestation of composer's creative e"periences
The Mondrian Metaphor;
()#*+
Art of ,uilding establish 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
,uilding has got to ma3e,
1
tangi,le Cpon what basis can the art of ,uilding achieve what
paintings' accomplished
)12+
,-hat are our actual surroundings today6 -e are living in
some,ody else's house with some,ody else's furniture, carpets, china, paintings, $he
metaphor of art to architecture is a call to e"perience a common mission
1 Tangere; to touch; capable of being perceived; material; especially by the sense of touch
)12+ 7DD <affee, 5estijl of %%l#&aati, ,Mondrian: Neo-plasticism and its influences in
Architecture$
% mission to transform, by personali.ing, the environment $o ma3e artifacts relevant $he
artist's mission is to establish
)12+
,harmonious proportions ,etween ourselves and our
surroundings, %rchitects call this
1
scale $his metaphor is interactive between the two
components of ourselves and our surroundings $his is
2
demonstrated; by painting and can be
by the art ,uilding (etaphors of value result from personal e"perience with subjects, objects,
ideas, etc $hose filling the environment which have not been ,transformed, the wholly
functional to personali.ed e"pressions remain some,ody else's $his is e"ternali.ed and vicarious
and the status of the disenfranchised $he way to reclaim the environment, this place, and this
time is to e"perience and e"press It promotes the metaphor's tas3 above triviality to the
necessary It is both the educator's and the artist's goal to ,,ring- out, ,carry- over, and
,transform, $he e"perience begins first in ac3nowledgement of the lifeless state and the
awa3ening of an urge that it can be different $here is a difference and the difference is vi,rant
)13+
(ondrian's metaphor reduced the comple"ity of the universe to its minimum 7e e"perienced
the scientific perennial we see represented in his wor3 7e e"perienced the constants of the
principal and drew out )abstracted+ their essence 7e sought to create the metaphor of
commonality upon which variables emanate 7e e"perienced the world and became it's
1
archetype 7e represented the things which do not change; what is inherent in things 7is
metaphor associated art and science;
)13+
pure science and pure art disinterested and free can lead
the advance in the recognition of the laws which are based on these relationships )(ondrian,
1>45;52+
?
B
1 &cale; something graduated in ascending or descending proportions to establish measured
distance 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 that
is written $o put into a three#dimensional form Eeify cancretise, formali.e, etc
)12+ 7DD <affee, 5estijl of %%l#&aati, ,Mondrian: Neo-
1
plasticism and its influences in
Architecture$
)13+ 2(ondrian, ,$lastic art and $ure plastic art,, si" essays, !ittenborn and Do, :ew
For3
)1*+
(ondrian's metaphor also consisted of content and form the two of which balance in a unity
$he metaphor is the commonality of two apparently unrelated conditions where one illuminates
the other (ondrian not only sought to illuminate but to arrange so that one set of elements
e"actly e4uals another (ondrian e"perienced euipoise of a"is, color and form 7e defined a
system of dominant, subdominant, and tertiary elements in hierarchies and progressions /ach of
his e"periences is a metaphor of harmony /ach is an e4ual counterpoise metaphor of the
essence of his art 7is life- giving e"perience redefined his perception of the world around him
and his products recall his e"perience !e read Mondrian
$he euipoise state of e4uilibrium counterbalances position free lines, angles, neutral
forms, rectangular relationships, intersections etc $hese are the apparent elements resulting from
(ondrian's e"perience 7e is see3ing
)13+
a dynamic euili,rium of continual movement;
(ondrian, 1>4>,, 5?+
1 Archien and typos; type; the original pattern or model of which all things of the same
B
>
type are representations or copies; prototype; a perfect e"ample
)1*+ %%l#&aati, ,Mondrian: Neo-plasticism and its influences in Architecture$
)13+ 2(ondrian, ,$lastic art and $ure plastic art,, si" essays, !ittenborn and Do, :ew
For3
It is when we apply metametaphors that we can appreciate that (ondrian was not ma3ing
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 s3ills with each of their differences and their commonalities is able to
e"perience their
1
neutrality $he commonality in the metaphor belongs 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 Neutrality is a type of commonality of (ondrian's
e"perience see3ing the euipose essence $he essence common to all the elements in his
e"perience $he elements of neutral forms and free lines Eectangular relations, intersections
and rectangular forms are the bi# products )2eace; a body at rest tends to stay at rest unless
acted on by an outside force+
)1*+
,$he object of (ondrian's art, is a recognition that the
rectangle has been established by non figurative art which progressively defined
2
its 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
>
1*
subdominant relationship create both a tension and e4uipoise of rectangular shapes elements both
because of their commonalities, and by his s3ill, 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 e4uipoise common to both
)1*+ %%l#&aati, ,Mondrian: Neo-plasticism and its influences in Architecture$
)13+ 2(ondrian, ,$lastic art and $ure plastic art,
1 Neuter; Neutre; neither, not, uter; intranitive; ta3ing 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
1
implied not only in painting but also in other media ie architecture $he
metaphor's elements imply their 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 wor3 within a metaphor it must be an
element having 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 e4uipoise with their
opposites because of other principles at wor3 2rinciples of the metaphor heretofore considered
incidental $he principles of position 4uantity, and shape
)1*+ %%l#&aati, ,Mondrian: Neo-plasticism and its influences in Architecture$
1*
11
1 Implicare; suggest; enfold, entwine; to involve or indicate by in ference association or
necessary conse4uence rather than by direct latent

)1*+
It is from within this e4uilibrium of disparate elements from which it draws its great sense of
strength and clarity that
1
mar/s a genuine Mondrian $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 e4ually 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 metaphor will be colorless and ultimately result in merely
painted surfaces
&igns, &ignals and Mar/s:
,Mondrian" is a fundamental unit which now designates a /ind of painting It has ta3en
on a
2
syntactic function being both its own metaphor and part of a metaphor beyond its own
e"istence Itself it has become an
3
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 sign
metaphor em,odiment of the man and his principles (ondrian, the man and his name have
become synonomous with his wor3 $he metaphor is a sign of its composer and the composer's
access to his society (ondrian's wor3s and his society are transformed, changed and bridged by
his wor3
)1*+ %%l#&aati, ,Mondrian: Neo-plasticism and its influences in Architecture,
11
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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 or
elements $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 proper
class or identified as being what it is a derivative possessing the special 4ualities )abstract+ in comment form In
this way (ondrian's language uses the language of science
7is wor3 is a product of his e"perience and we 3now him by the bridges, tic3ets, signs,
transformers, vehicles and assemblies he paints %ny one of (ondrian's wor3s are a mar/
inherently charactristic of all of his wor3s $he characteristics of 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 craft of his e"pression 7e is both artisan
and artist $he two are one and culminate in the mar/ of (ondrian; his distinctive wor3 /ach
Mondrian is a to/en of the collection of (ondrian $he wor3 serves as an outward proof of the
now intangible past in which his e"perience too3 place $hey are a to3en of :eo#plasticism, art,
artisan, craft, perceptions, etc $hey are a symptom of an internal metaphoric process conducted
by (ondrian as he created, and in his wor3 as one perceive $he wor3 is a change mechanism
which conditions the way in which we thin3 about two#dimensions, balance, lines, color, space,
canvas and paint !e see the craft designs and (ondrians preoccupations
It is a 3ind of
1
geometri.ing preoccupation 1eometry transforms art and art transforms
geometry (ondrian's wor3 is his signature )&ignare+ -y his wor3 the mind and spirit of
(ondrian materiali.es /ach wor3 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+
12
13
Metametaphor Metametaphor:
)12+
$he abstractly realistic art of painting is therefore, meanwhile )until architects
represent purely well#balanced proportions+ the life#saving substitute, !hy life#saving unless
this comment by (ondrian in de&tijl e4uates representing with 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
1
representing which is life- saving !hat about representing is
life#saving8 (ondrian is a type which identifies himself through his art $his identity is the life
which is saved and it is by the conscious use of the s3ill and creative imagination in the
production of his metaphor that life is reali.ed In other words, one might be living and
breathing but this is about life beyond natural survival It is about perception and being the
vehicle to represent the 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 metametaphor describes
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
12 7DD <affee, .e&ti5l of %%l#&aati, ,Mondrian: Neoplasticism and Influence in
Architecture
13
14
(etametophor too is
)1*+
,Mondrian's vision a,out the concept of architecture of
planes possessing a multi- sided plasticity in accordance with the theory of relativity, $his
concept made him attac3 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 thin3ing is responsible
for transferring observations about science to art and vice#versa It is not analogy It is from two#
dimensional thin3ing about the variability of lines and their placement that springs a
li3e#possibility for planes $his is use of metaphoric analogy Aines projected up became planes
and can vary as lines0planes ninety 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#dimensional flat space while for
architecture, three#dimensional volumetric space /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 Metaphor have comonalities and differences =ne of the assertians of the theory of
relativity is that the e4uivalence of mass, energy and change in mass's dimension, and time, come
with increased velocity

)1*+ %%l#&aati, ,Mondrian: Neo-plasticism and its influences in Architecture$
14
15
)13+ 2(ondrian, ,$lastic art and $ure plastic art,; si" essays, !ittenborn and Do, :ew
For3
$his concept of relativity, proportion and interaction is a metametaphoric way of (ondrian
e"periencing the unity of his wor3 with the universe It was his way of his wor3 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 Mondrian Metametaphor of Mondrian
$he metametaphors of (ondrians
)15+
general principles of :eo#plasticism are;
)15+
1 :on#colored two dimensional areas can be e4uated to three#dimensional space
defined and limited by material in three#dimensional architecture and color in two#dimensional
painting
2 /4uivalence is the commonality of the ingredients composing the metaphor
$hey are the media in the techni4ue $hey may have differences but commonality in eual
value /ven the bounded and limited space must be considered with the materials describing it in
balanced proportions so that they are in euili,rium
)14+%rnheim, 1>32
)15+(&euphor, )1>?28nd+ ,$iet Mondrian, 6ife and -or/
15
1@
3 ,The duality opposing elements in the plastic medium is also reuired in the
composition, %s the metaphor the neo#plastic must contain at least two
1
opposing elements
4 ,A,iding euili,rium is achieved through opposition$ where the metaphoric
language is the straightline, the synta", the right angle, the common essence and the ,a,iding
euili,rium, /"trapolating this principle into architectural metaphors result in metametaphor
5 $he content communicated by the metaphor is the essence common to its
elements; ,the e4uilibrium 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 techni4ue which forms the metaphor will be dominated by the scale and meaning of the
metaphor
@ ,All symmetry shall ,e excluded, and all metaphors shall e"clude familiar
elements are two similar theorems $he elements of a metaphor must be asymmetrical being
composed of aliens as well as li3e 3inds 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
Metametaphor of (ondrian's Neo-plastic and form is an abstraction of art's 4uality of
composition which is "the
*
plastic expression the image".
1 o,:against G ponnere to place; to place opposite or against something to provide
resistance, counterbalance, or contrast Dontrary; in tension; occupying an opposing and often
antagonistic position; diametrically different )as in nature or character+ opposing meanings
2 plasti/os; developing; forming )thromboplastic+; a visual art; into a shape
$lasticism of relations vs
1
morphoplasticism asserting the commonality of composition
versus
2
emulating nature's forms and colors
)1*+
,In nature,
3
relationships are veiled by matter
1@
1?
appearing as form, color or its natural properties In nature architecture and art metaphors are
usually veiled by an over emphasis on materials, structure, systems, and many other of
architecture's functioning or defining elements 9ew appreciate the metaphoric dimension of a
wor3 nor can read the wor3 /ven less care to try Cnless the wor3 is the result of an e"perience
common to both composer and user or more; unless the wor3 dramatically reveals its creative
e"perience to the reader it will remain irrelevant
Metaphors are 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 euivalence of the above creates harmony $o (ondrian :eo#
plasticism is the reservoir of complimenterities $o &erge Dhermayeff it was the principle of
complimentarities and in metametaphor it is the metaphor
1 Morphism : morphus ; conceptualism; a study and description of word formation in a
language including inflection, derivation, and compounding $he system of word#forming
elements and processes in a language; a study of structure and form (orphoplasticism is then
then system by which a wor3 is formed 2rinciples of forming a wor3
2 Eeaders may refer to author's discussion about mimesis in ,&audi Ara, Islamic
Metaphor $erspective, )as yet unpublished and
)2*+ 15odds, ,,%n the place of architectural speculation,
3 relatus; the 4uality that connects to or more things; parts wor3ing together as being the
same 3ind Eeciprocally interested; intercourse
)1*+%%l#&aati, ,Mondrian: Neo-plasticism and its influences in Architecture$
)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 possi,le for each,
despite differences to have the same value as the others, $his definition of neo#plasticism
parallels metametaphor adding the dimension of the metaphor's form $he metaphor benefits
1?
1B
from the inclusion of aliens It transforms, changes and bridges but is not e4uitable It has an
order and is consistent Its rule for e4uivalence is essential for seemingly disparate elements to
enter the same conte"t Cltimately each element must have the same value in order to retain
conte"tual purity =ne would otherwise dominate and interfere with the interaction between
elements
It is one thing to write about metaphors and neo#plasticism but another to e"perience and
produce them Metametaphors and neo-plasticism are both the results of a e"panded scope of
e"perience reaching beyond the limits of their own art to embrace the arts of others It is an
attempt to share lessons of ones media-specific e"perience with that of others it is, too, a hope
that one may further e"perience from others lessons to further apply into ones own media it is
reciprocal In itself it is
1
creative
1* %%l#&aati, ,Mondrian: Neo-plasticism and its influences in Architecture$
1 create ; to bring into e"istence; to invest with a new form and produce through
imaginative s3ill; design; invent
4onclusion 4onclusion :
Cnli3e metametaphor) neo-plasticism is lin3ed to (ondrian and with or without neo#
plasticism many were influenced by (ondrian's products 7is writing's and further wor3 with
de&tijl and the -auhaus were another
wor3 !orthy, but separate from his paintings
)1@+
Cndoubtedly, (ondrian's principles of the
1B
1>
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 wor3
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 remar3s 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, 9ran3 Aloyd !right, Eichard :eutra, 2eter -la3e, van 5oesburg,
1errit Eietveld, Desar 2elli 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 $hey e"perienced the elements and in their 3nowledge of them they
applied the s3ill and learned principles to bear the e"perience and process of creation to form the
metaphor (ondrian is indeed an archetype for those that followed In him formed a metaphor
of neo#plasticism which reproduced itself into paintings, journals, boo3s, movements,
architecture, furniture etc
)1@+0 &cully )1>@*+ ,8#6#-right, 1 -ra.iller Inc :ew For3 in %%l#&aati, ,Mondrian: Neo-
plasticism and its influences in Architecture$
$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
1
art of their s3ill and
the vision incarnated; they and their products are a 3ind of metaphor 2roducts are the vehicles
by which we read and re#create the e"perience they had getting ,it, together $he metaphor is an
1>
2*
artist's manifestation It is neo#plastic It is
)1*+
Nieowe ,eelding )new plastics' or neo#plasticism+
It is the e"ternali.ed manifestation of an internally created vision It is a metametaphor#
)1*+ 5r &choemae3ers; %%l#&aati, ,Mondrian: Neo-plasticism and its influences in
Architecture,
1 art : art : arm, s3ill; 3nowledge
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; <ournal of the 9aculty of %rchitecture
)14+ %rniheim E )1>??+; ,The dynamics of architectural form, Cniversity of Dalifornia
press -er3eley
-alju, < )1>?4+ ,Theo van .oes,urg,, (ac(illan 2ublishing Do,, Inc, :ew
For3
-la3e, 2 )1>@@+ ,Mies van der 9ohe, architecture and structure,, 2enguin boo3s, -altimore
-ugignani, % )1>@B+ ,Mondrian,, $hemes and 7udson, Aondon
5re"ler, % )1>@@+ ,6udwig Mies van der 9ohe,, 1eorge -ra.iller Inc, :ew
For3
1idion, & )1>?3+ ,&pace, time and architecture,, 7arvard Cniversity 2ress, :ew
For3
)12+ <affee, 7DD )1>@?+ ,de&ti5l,, $hemes and 7udson, Aondon
)15+ &euphor, ( )1>?28 nd+ ,$iet Mondrian, 6ife and wor/,, 7arry :%brams, Inc, :ew
2*
21
For3
&euphor, ( )1>?@+ ,Mondrian and his time,, )(ondrian and de &tijl, 1alerie 1mur.yns3a
)1@+ &cully, 0 )1>@*+ ,8ran/ 6loyd -right", 1eorge -ra.iller Inc :ew For3
!ijsenbee3, A9< )1>B@+ "$iet Mondrian, $rans IE 1ibbons, 1rafic &ociety, 1reenwich,
Donn, :ew For3
)13+ (ondrian, 2 )1>45+ ,$lastic art and $ure $lastic art, si" essays, !ittenborn and co,
:ew For3
)11+ <oedic3e, < )1>@5+, ,:#:#$#%ud,, -aun and !ohen )1>;2+ 1#2
$hese are in addition to %l#&aati; 2* 5odds, 1eorge, ,%n the place of Architectural
&peculation$; :ov 1>>2; <%/; <ournal of %rchitectual /ducation; pub by -utterworth#
7einmann for the %ssociation of the Dollegiate &chools of %rchitecture, Inc
21