Principles of Lightweight Structures in the Sculptural Conceptions of Naum Gabo

Abstract

The Russian-born artist Naum Gabo (1890–1977) often employed new materials and techniques which demonstrate how his spatial conceptions developed towards a sculptural expression of lightness, balance and equilibrium. These principles reverberate with concepts of optimum structures, in which minimum-weight design is achieved through removal of redundant material. Not only formal aspects of his sculptures correspond to this concept, but also Gabo's shared aesthetic and structural concerns with twentieth-century architecture and engineering, in terms of transparency, spatial openness, efficiency and lightweight design are consistent with this idea. Similar notions surfaced in prevailing interests in nature's sense of order and perfection as the basis of biologically-inspired design, which Gabo encountered especially in the work of the biologist D'Arcy Thompson and the art critic Herbert Read. This paper investigates the aesthetic and structural affinities Gabo's sculptures bear with these notions, highlighting how these informed his sculptural conceptions. His oeuvre demonstrates how his constructive technique enabled Gabo to convey an aesthetic that would be appropriate for a modern, industrial society. The aim of this paper is to offer a new way of looking at Gabo's sculptural aesthetic by identifying analogies with theoretical formulations of minimum weight frame-structures, as encountered in the theory of the scientist engineer A.G.M. Michell (1904). Consistent with his historical context, this work demonstrates how Gabo's sculptures convey an aesthetic of balance, equilibrium, and lightness precisely because his sculptural language is rooted in principles of optimum structures to which he responded in visual as well as structural terms.     

THE ANCIENT MINE OF SERVETTE (SAINT‐MARCEL,VAL D’AOSTA,WESTERN ITALIAN ALPS): A MINERALOGICAL,METALLURGICAL AND CHARCOAL ANALYSIS OF FURNACE SLAGS*

The Cu–Fe mining district of Servette is located in the valley of Saint‐Marcel (Val d’Aosta) at about 1800 m a.s.l. in the western Italian Alps. A large furnace slag deposit occurs near the Servette mine. Slags are mainly constituted by silicate and oxide in a glassy matrix, with disseminated sulphides and iron–copper alloys, and they record temperatures of 1380–1100°C. Radiocarbon dating of slag charcoals has shown that metallurgy in this site took place around ad 890–980. The charcoal analysis has shown that coniferous wood was mainly utilized, and intensive exploitation over the centuries led to a change in the composition of the local woods.     

‘DE CAERIMONIAE’ TECHNOLOGICAL CHOICES IN COPPER‐SMELTING FURNACE DESIGN AT EARLY BRONZE AGE CHRYSOKAMINO,CRETE*

The excavation of a number of Early Bronze Age sites in the Aegean has recovered perforated ceramic fragments. Archaeometallurgical analysis of slag adhering to these fragments indicates that they are the remains of copper‐smelting furnaces. Despite compelling analytical data supporting this identification, no attempt has been made, thus far, to establish how these unusual furnaces may have operated. The use of perforations is poorly understood and can be considered a counter‐intuitive solution for the reduction of oxidic copper ores. The experiments reported here explore the possible technological choices made by the ancient metalworkers of Chrysokamino to ensure the effective reduction of copper minerals. Temperature data and slag samples were obtained to ascertain the technical performance of the furnace structure with, and without, perforations. Possible reasons are given for the use of a perforated design, and the implications of such technological choices are considered.     

THE MELTING FURNACE OF THE DERRIÈRE SAIROCHE GLASSWORKS (COURT,SWISS JURA): HEAT‐INDUCED MINERALOGICAL TRANSFORMATIONS AND THEIR TECHNOLOGICAL SIGNIFICANCE*

Seventy‐one oriented specimens from the pre‐industrial reverberatory melting furnace of the Derrière Sairoche glassworks (Swiss Jura) were analysed. During its period of activity (1699–1714), this glassworks produced wood‐ash glass of liquidus temperatures up to 1400°C. Textural and mineralogical features point to temperatures around 1500°C in the melting chamber. The inner structure of the furnace shows chemical contamination due to ash, molten glass and furnace gases. These results reveal the pyrotechnological know‐how of the glassmakers and prove that the thermal performance of this kind of furnace has been under‐evaluated in the past.     

THE COMPOSITION AND MANUFACTURE OF EARLY MEDIEVAL COLOURED WINDOW GLASS FROM SION (VALAIS,SWITZERLAND)—A ROMAN GLASS‐MAKING TRADITION OR INNOVATIVE CRAFTSMANSHIP?*

Archaeological excavations between 1984 and 2001 at the early Christian cemetery church in Sion, Sous‐le‐Scex (Rhône Valley, Switzerland), brought to light more than 400 pieces of coloured window glass dating from the fifth or sixth centuries ad . The aims of this paper are threefold: first, to characterize the shape, colour and chemical composition of the glass; secondly, to understand whether the production of the coloured window panes followed traditional Roman glazing techniques or was of a more innovative nature; and, thirdly, to provide some indications as to the overall design of these early ornamental glass windows. Forty samples of coloured glass have been analysed by wavelength‐dispersive X‐ray fluorescence. The results of the chemical and the technological studies showed that most of the glass was produced using recycled glass, particularly as a colouring agent. Some of the glass was made of essentially unmodified glass of the Levantine I type. The results taken together seem to confirm that raw glass from this region was widely traded and used between the fourth and seventh centuries ad . The artisans at Sion were apparently still making use of the highly developed techniques of Roman glass production. The colour spectrum, manufacture and design of the windows, however, suggest that they represent early examples of ornamental coloured glass windows.