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.