We have named PROUN [the art, stepping over from painting to architecture] a station on the path to the construction of the new form.. .From being a … - El Lissitzky

..into this chaos [after the Bolshevik' revolution] came suprematism extolling the square [referring to the Squares of Malevich] as the very source of all creative expression, and then came communism and extolled work as the true source of man's heartbeat.

We analyzed the first stage of our construction, confined to two-dimensional space, and found it to be as durable and resistant as the earth itself. We build in this space just as we would on the ground, and therefore must take as our point of departure the concepts of gravity and force of attraction, as the foundation of everything built on the land. In PROUN the reciprocity of the effects of gravity [Newton, 'for every action an equal and opposite reaction'] manifests itself in a new capacity. We see that on the surface (plane) of the picture, the PROUN ceases to exist as such and becomes a building surveyed from every direction — considered from above or examined from below. The result of this turns out to be the destruction of the single axis that leads to the horizon.

The short step then required to complete the stride consists in recognition of the fact that a contre-relief is an architectonic structure, but the slightest deviation from the plumb-line of economy leads into a blind alley. The same fate must also overtake the architecture of cubist contre-relief.. .By taking these elements FROM THEM for itself it wants to become equally entitled to take its place alongside them as a new creation. The reference is to the narrow technical discoveries for example the submarine, the aeroplane, the motors and dynamos of every kind of motive power in each part of a battle-ship. Contre-relief is instinctively aware of their legitimate origin their economy of form and their realism of treatment.