The aim of this work is to investigate the relationship (technical, synthetic and conceptual tools, political and social background) of the work produced in painting and architecture during the periods of Neoclassicism, Bauhaus and Postmodern.
Each art has a special, own language through which it communicates and stands out from the rest. For example, painting converges on several points with architecture, such as the two-dimensional level, the use of color, the composition of engravings and axes, the use of shadows etc. In paintings, we distinguish form and content. Each painting tells a story or an event that takes place.
But there are some factors that differentiate painting from architecture completely. The central element of architecture, as opposed to painting, is the three-dimensional space. This space is aimed at human senses, articulated around the kinetic, acoustic, visual, tactile and olfactory experiences. On the scale of architecture there is also a fourth dimension that is not included in painting, time. `As an architecture of time is meant the process and the way in which time as a duration consists of spatially perceptible units.`
The prerequisites for examining this research work, the relationship between the architectural and painting work will be based on the points at which they converge. The two-dimensional level of the canvas will be compared to the two-dimensional level of the architectural work as a component of it.