In the twentieth century, there were significant changes in the paradigm of nderstanding and
creating art and architecture. A revolutionary idea was formed that anything can become a work of art because it
depends not on the quality of the object itself, but on the readiness of the viewer to perceive it. If the visitor of the
exhibition, looking at the exhibits, is overwhelmed with emotions and deep thoughts, then the goal of the gallery
owners and displayed artists is achieved. If not, then no matter how well the canvases or sculptures are done, the
campaign is unsuccessful. The turbulent historical events of the early twentieth century, such as the redrawing of
the world map, wars, and economic crises, made society extremely emotional, which primarily affected the heritage
of people in creative professions. It looked like a large number of different groups and individual creators around
the world decided to challenge everything that was created before. Various experiments were conducted and they
were summed up by vivid manifestos.
In architecture, in parallel with rational modernism, there has always been a place for the romance of
irrational trends. Compared to previous historical periods, progressive visionaries did not create rooms limited by
decorated walls – they created spaces, trying to give them a new quality. Breaking with traditions, they worked out
a large number of inventions, which partially remained implemented only on paper. One of these outstanding
experimental romantics was F. Kiesler. From the beginning of his creative career, while travelling, he got
acquainted with the best achievements of the world thought in the field of finding ways to create space.
Contemplating other people’s achievements and taking part in their creation directly, F. Kiesler gradually created
his own author’s style – “corealism”, which was based on the reflection of the boundless space of another reality.
His inventions remain not just unique projects but are eloquent evidence of the new philosophy of the ideal
universe, which was implemented in the works of subsequent generations of artists.
Key words: art, architecture, modernism, architects, artists, space, correalism.
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