The Suprematism art movement – promoted by Malevich since 1913 and which has had one of the pinnacles of multidimensional and interdisciplinary creative research in the UNOVIS experience-isperhaps the artistic expression that interprets experimentation on the interaction of bodies and spaces in the most advanced form of different orders.
The passage from a two-dimensional world to a three-dimensional order extensively metaphorically in the four-dimensional sense has defined, through the “Black Square”, the “Zero Dimension” of contemporary Art.
Basically, the new perceptions and measurements of space and time are defined, to which are added the emotional faculties and pure sensitivity, what Malevich called “intuitive reason”.
The aspiration to infinity and the cosmic momentum find expression in all the pictorial, architectural, applied research of K. Malevich and of the numerous young students who have revived ideas and visions in the various arts even in an original way compared to the Master.
The abandonment of Euclidean space is, therefore, a revolutionary theoretical conquest that marked a turning point in the history of art and applied science. It is no coincidence that while K. Malevich defined the theoretical basis and not only of Suprematism, in November 1915 Albert Einstein presented his four studies on the general theory of relativity to the Prussian Academy of Sciences. The tectonic upheavals in Science and Art, along with the Social changes of the early twentieth century will determine a New World.
Here it is essential to especially note the creative contribution of Lazar Khidekel (1904- 1986), who was responsible for the emergence of Suprematism from the plane to the volume, architectons – prototypes of modern skyscrapers, the first real architectural project of Suprematism and the projects of future cities
In his manifesto of 1920, AERO, for the first time such an urgent task of resolving the contradictions between the development of Civilization and Nature through new approaches of organic architecture was first presented.
L.Khidekel defined its place as the first architect-ecologist of modern times.
His heritage is becomingmore in demand in the context of modernity, and so consonant with the project of Mirvita, cantor of theCosmoNature dimension projected towards theXXIst century.
At the threshold of the 21st century, tectonic upheavals of historical significance seem to converge once more, as they did a century ago, leading to a new way of living, of creating, of thinking, in synthesis, to another Human Universe and to a new Cosmic and Digital dimension. It is the new Space-Time dimension to envision a New World.