Thesis (M. Arch)--Unitec New Zealand, 2008. / Includes bibliographical references (leaves 100-104).

This dissertation is an investigation into the architectural meaning of Kasimir Malevich's suprematist works and, more specifically, into the meaning of his Architectons of horizontal and vertical constructions. A critical "rewinding" of the diverse and seemingly contradictory suprematist periods--starting with the artist's chef d'oeuvre, his Funeral-Performance and moving backwards to the figurative works, the Architectons and then, to the 1913 Black Square, in its beginnings in futurist Zaum poetry--makes patent the fragmentary nature of the meaning of those periods and introduces Suprematism-as-Architecture as the meaning of Suprematism in its entirety. Malevich's extensive written work is the guiding thread we follow in trying to demonstrate how the full meaning of Suprematism echoes, in the context of our Nietzschean world, Martin Heidegger's presentation of questions concerning building. Suprematism-as-Architecture equally opens up avenues of questioning concerning modern man's relation to the attainment of an architectural meaning, i.e., of a thinking-dwelling.

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