Architectonics(from ancient Greek ἀρχιτεκτονική - construction art) - construction work of art. The term “composition” is more often used in the same meaning, and as applied not only to the work as a whole, but also to its individual elements: composition of an image, plot, stanza, etc. A closely related, albeit narrower concept when applied to art is also the term tectonics.
Visible architecture of Oriente metro station, Lisbon
The term architectonics consists of two words Greek origin: other Greek ἀρχι (archi) - main and other Greek. τεκτον (tektos) - to build, erect, which in direct translation means “the main structure” (or the main structure). This word is absolutely the same root as the words: architect (in ancient Russian this word generally sounded like architecton, chief builder) and architecture (the basis of the structure). In contrast to the two mentioned terms, architectonics means the main (basic) principle of construction and common system connections between individual parts of the composition of an artistic whole.
For example, in architecture (as the ancestor of this term), architectonics is the most important property of the overall composition of a building, visibly showing the specific weight and purpose of the main structural parts and individual materials from which each specific building is constructed. Architectonics manifests itself primarily through the clearly expressed division and relationship of parts of the whole work (or structure): both external and constructive.
It is the architectonics that forms the main impression from the perception of an object (which does not lose its significance even in the case of objects of living nature, which also have their own visible architectonics). Through the integrity of the external image, the architect expresses the main compositional idea (or, in other words, composes the image of the object). This is precisely why architectonics differs from tectonics, which is only an aesthetic embodiment of the load-bearing form of a structure and material.
These concepts also have a similar meaning in painting, graphics, sculpture and literature.
In application to literary creativity the concept of architectonics combines the relationship of parts of a work, the arrangement and mutual connection of its components (components), which together form some artistic unity. The concept of architectonics includes: external structure work, and the construction of the plot: dividing the work into parts, the type of narration (from the author or on behalf of a special narrator), the role of dialogue, a particular sequence of events (temporal or in violation of the chronological principle), introduction to the narrative fabric different descriptions, author's reasoning and lyrical digressions, grouping characters and so on.
Architectural techniques constitute one of the essential elements of style (in in a broad sense words) and together with it are socially conditioned. Therefore, they change in connection with the socio-economic life of a given society, with the emergence of new classes and groups on the historical stage. If we take, for example, Turgenev’s novels, we will find in them consistency in the presentation of events, smoothness in the course of the narrative, an emphasis on the harmonious harmony of the whole, and the important compositional role of the landscape. These features are easily explained both by the life of the estate and the psyche of its inhabitants. Dostoevsky's novels are constructed according to completely different laws: the action begins in the middle, the narrative flows quickly, in leaps and bounds, and the external disproportion of the parts is also noticeable. These properties of architectonics are in the same way determined by the characteristics of the depicted environment - the metropolitan philistinism. Within the same literary style Architectural techniques vary depending on artistic genre(novel, story, story, poem, dramatic work, lyric poem). Each genre is characterized by a number of specific signs, requiring a unique composition.
Composition is the sequential arrangement of parts in a work.
Parts of the composition are distinguished based on:
· Ideological and thematic community
· Plot completeness
Types of compositions:
· Lyrical
· Narrative
Dramatic
Composition structure:
· Block (sequential)
¾ Monoblock (single test)
¾ Two-part
¾ Tripartite
¾ Polycompound
¾ Cyclic
¾ Mirror
Centripetal
¾ A story within a story
¾ Romance in letters
¾ A story within a story of a story
¾ Assembly
Depending on the genre of the work, specific methods of depiction predominate in it. Each work has its own unique composition. Some traditional genres compositional canons are inherent.
Types of composition:
· Free (unrestricted). common topic, you can insert or remove loops (cyclic composition)
Rigid (blocky, centripetal)
Relationship between composition and content.
There are 2 main points of view:
· Composition and plot are not connected. A composition is a frozen structure, and any content can be embedded in it (for example, an ode, where the structure is fixed, but the content can be anything)
· Composition and plot are closely related. The structure of the work itself is meaningful, carries a certain intention of the author (for example, a Hero of our time)
To the composition in different eras treated differently:
· Antiquity, the Middle Ages – a rigid canon is important
· Baroque – free form, broken composition
· Classicism, sentimentalism – strict form
· Modernism, symbolism, early 20th century – free form, complex construction
Structure levels:
Macrostructure – hard parts (blocks)
· Midistructure – consideration of 1 blocks in detail
· Microstructure – specifics of construction individual parts
Types of compositional connections:
1. Ideological and thematic
2. Figurative
3. Story
4. Spatiotemporal
5. Style
Plot-compositional links:
· Motivated - a plot detail mentioned in the previous part and helping to develop the action in the next part
· Unmotivated (mechanical) - a detail of the plot, little connected with the content, formally serving to connect the parts of the work.
· Ring
Additional composition components:
· Lyrical digressions
· Introductory episodes
Architectonics - this is the construction of a work of art, its general external form and the relationship of individual parts.
The concept of architectonics is close to the concept of composition in literature, but there is a difference between these concepts. The “compositional” study of a work comes down to the study of its individual details in order to establish from them the nature of the whole and vice versa.
Architectonics requires the strictest attention, first of all, to the relationship of parts (even regardless of their internal meaning), - because otherwise the construction will be shaky.
Thus, despite the apparent “cumbersomeness,” Dostoevsky’s best creations are impeccable in terms of architectonics. Numerous characters in his novels are “established” so firmly that individual moments turn out to be firmly connected and mutually necessary.
One of the external manifestations of the architectonics of a work can be considered the breakdown of the work into chapters, actions, etc. The architectural connection between chapters is usually established by the fact that a new chapter introduces some new member of the plot setting.
But sometimes the division into chapters of a work reveals its architectonic meaning in a different way. For example, Gogol’s “Sorochinskaya Fair” consists of 13 chapters; There is no doubt, of course, that the strength of their subordination and the architectonics of the work as a whole, along with other moments, is explained by the meaning of 13, as a “devil’s number,” i.e. due to the general focus of the work on the intervention of an imaginary devil.
Detail in literature
Material culture as a collection of objects created by man, enters the world of the work. However, to designate objects depicted in literature, mat. culture there is no single term. According to creation "long ago days gone by"It is possible to reconstruct everyday life.
Changes in the relationship between man and thing real life:
1. At the dawn of civilization, a thing is the crown of human creation, evidence of wisdom and skill ("white stone chambers" and their decoration; fabrics with a "cunning pattern"; magnificent feast bowls).
2.Attitude towards mat subjects. culture as an achievement of the human mind - the Age of Enlightenment (Robinson Crusoe - a hymn to labor and civilization).
3. Literature of the 19th-20th centuries - a) the master person is still revered, objects made by skillful hands are valued. b) Mat. the value of a thing can overshadow a person; he is assessed by society by how much expensive things possesses.
4.In the 20th century. - the fight against materialism - the slavish dependence of people on the things around them. With the development of technology, the range of things depicted in literature expands (giant factories, the hellish punitive machine - “correctional colony”).
Functions of things in literature:
1. Cultural (travel novel; historical novel) - different worlds are presented in a synchronous cross-section (national, class, geographical, etc.).
2.Characterological function: in " Dead souls" shows the "intimate connection of things" with their owners).
3. Plot-compositional: the handkerchief in the tragedy "Othello". the world has its own composition (active in detective genres).
Things appear primarily in everyday life as signs of a particular way of life. works, in particular in “physiological essays”, in science fiction.
Artistic detail– the smallest unit objective world works (French detail – “small composition. part h-l"). The artistic (objective, figurative) world of a work is a metaverbal (abstracted, generalized) dimension of the literary dimension. The most important category is thin. of the world - an image (i.e., reproduction of objects in their integrity, individuality). For the worse. details include: everyday life, landscape, portrait. Tropes, techniques, figures of speech DO NOT APPLY to d. (Putnin)
Detailing of the objective world is inevitable (this is not decoration, but the essence of the image). A detail replaces the whole in the text and evokes the necessary associations in the reader (specification of the work by the reader). Selecting, inventing details, he writes. “turns” the object. to cheat. defined side (in “Lay on I.’s regiment” nature is a participant in the campaign, patronizing not the Russians). Taste for the village united. all artists Homer resorts to described. barely noticeable little things. Deliberate delay in action. – retardation.
Degree of image detail m.b. Motivated spaces. and/or time point. zren. narrative (A. Fet: “Only in the world is there that shady/Slumbering maple tent./Only in the world is there that radiant/Childish pensive gaze./Only in the world is there that fragrant/Dear head attire./Only in the world is this pure/left-handed portrait created by several.
Classifier d. rep. subject structure world: events, actions of characters, their portraits, psychological. and speech characteristics, landscape, interior, etc. Some types of D. may be absent, which is emphasized. convention of the world.
A. B. Esin identified three groups of D.: plot, descriptive, psychological. (typology, style). Predominant k-l type generated appropriate property, or dominant: “plot content” (“Taras Bulba”), “descriptiveness” (“ Dead Souls"), psychologism ("Crime and Punishment"). These saints may not be excluded. friend etc. Part no. St. functional completely only in metawords. text (where is row, sequence, roll call D.). Co- and/or contrast of details. For example, Pierre Bezukhov’s childish, silly smile and intelligent, observant gaze are for Tolstoy. Pierre's smile (“mind of the heart”) is more important than his opinions (“mind of the mind”), which will change. Dynamics of the portrait: gestures, facial expressions, changes. skin color, trembling, etc. (which is not always subject to consciousness) - maybe. sharply diverge from the letters. the meaning of the speeches of Ger. "Dispute" plot. and psychologist. details – captivating novels by Ven. The “ensemble” of parts was created. holistically. impressed (“office/Philosopher at eighteen years old” - “E.O.”).
E.S. Dobin - typologies. D. according to criterion. singularity/plurality: “details” - impact. in multitude, extensive, “details” - gravitate toward unity, replace a number of details, are intense (Karenin’s ears, curls of hair on Anna’s neck, short upper lip with a mustache of the little princess Bolkonskaya, radiant eyes Princess Maria, etc.). Not just highlighted character traits, but something that hints at some kind of contradiction in the subject. And it is expressive, that is, if it is read correctly, the reader joins the author’s system of values (for example, the short sponge with a mustache of Liza Bolkonskaya, at first characterized as “her special, her own beauty,” soon evokes in the story (and A . Bolkonsky) are unfavorable for the heroine's zoological association: “... the sponge rose, giving her face not a joyful, but a brutal, squirrel expression”).
Detail (Dobin):
A. contributing there is dissonance in the image. (“estranged” d. - term. Shklovsky), named after. cognizant meaning (allow a closer look at the object): two Manilov chairs, upholstered in “just matting” and giving away. there is a non-owner in it - “Don’t sit down<…>, they are not ready yet.” When using such a d. - hyperbole: a bicycle from “The Man in a Case” (Chekhov), on which Varenka dashingly rode, frightening Belikov. Violation of the norm, element of surprise, exaggeration of birth. sensation “intensity” of such D., increased. “loads” on it, about which Dobin writes.
b. visibility d., contrasting with community background, facilitative composition techniques: repetitions, " close-up", "montage", retardation, etc. Repeating and gaining complement. meanings, D. becomes a motive (leitmotif), often grows into a symbol, stan. explained. character (in “The Idiot” Myshkin’s strange ability to imitate handwriting reproducing writing styles is a hint of Myshkin’s main talent: understanding different characters, different styles of behavior.
V. symbolic D. m. b. carried out in the title of the book: “Gooseberry” by Chekhov, “ Easy breath» Bunin (the unity of the artistic whole, the presence of the author in the composition).
Detail (according to Dobin) is closer to a sign than to a symbol (evoking the joy of recognition, an exciting chain of associations - one can judge Onegin’s passion based on the decoration of his office, several strokes-signs replacing. long. described: “...and a portrait of Lord Byron,/And a column with a cast-iron doll/Under a hat, with a cloudy brow,/With hands clenched in a cross.”
Details help with reconstruction. life, everyday life, tastes of a society far from us.
The concept " architectonics» ( from Greek – construction art) V general view includes the unity of artistic expression of the laws of structure, the relationship of load and support inherent in the structural system.
In a broad sense, architectonics is the compositional structure of any work of art, determining the relationship between its main and secondary elements. The quality of the architectonics of a thing depends on four main characteristics: the perfection of the content itself, the perfection of the form, the relationship between form and content, and the aesthetics of the form. The main principle of architectonics is the comprehensive unity of form and content. Architectonics is revealed in the distribution of masses, in the rhythmic structure of forms, in proportions, and partly in the color structure of the work. The architectural connection of form elements is the main means of expression.
Long-span coverings of industrial buildings using structures of various tectonic systems.
from the book “Architectural Design” by V.N. Tkachev
TECTONICS IN DESIGN- an indirect idea of the patterns of its functional and constructive solution, fixed in the form of a design object, a kind of “image” of the tension of the state of a certain integrity, illustrating the logic and stability of its constructive, functional or visual structure.
Tectonic features of design objects are determined by two groups of circumstances: objective features of the functional and technical layout of the object (principles of a technical solution, its effectiveness, novelty, rationality of designs, etc.) and the focus of visual proposals ( compositional structure, color scheme, expressiveness of form, etc.). Both sets of circumstances general decision can act together, enter into contradictions, even deny each other - on which the final result of efforts for the tectonic organization of the design object and its aesthetic expressiveness will depend.
T. in d. kok artistic medium design is a synthesis of three principles: expression in the form of a product, the work of materials and structures; reflections in creative method the author of cultural and historical ideas about the expressiveness of the “language” of tectonic forms; understanding of T. as a symbol of the integrity of the form of a product (since it is the tectonic image that is the most important tool for the formation of this quality).
Structurality and tectonicity of industrial forms: o - dependence of the structure on the layout of the working mechanism and material, the structure is static and dynamic; b- tectonics of metal, plastic, wood products
TECTONIC EXPRESSIVENESS in design - the formation of an emotional and figurative understanding of subject and spatial complexes using tectonics.
T.v. in design is achieved in two alternative ways:
Direct use of technical and structural components of products or their complexes as carriers of tectonic images;
Direct oblivion of structural and functional structures, when the tectonic theme is played out by additional “visual” and constructive means: a casing around the functional mechanism, decorative overlays, etc.
The above defines two groups of tectonic morphogenesis strategies (according to Yu.V. Nazarov): “expressive” (demonstration of the principles of distribution of functional loads, structural or technological device in the features of the form of a product) and “figurative” (including “imitation” of other active tectonic structures, “camouflage” is an illusory, decorative reproduction of them, “stylization” is a reproduction of common cultural patterns of a given class of products). But if the first group of strategies is considered leading in design, then the second, which has been under fire for a long time, is just gaining the right to official recognition, which is largely due to the development of new directions in design formation [art design, freestyle, etc. P.).
Technologies for achieving T.v. are greatly complicated by the qualitative diversity of basic tectonic structures - from static to mobile, moving and shifting.
TECTONIC STRUCTURE- options for the relationship (combination) of “bearing” and “non-carrying”, (“active” and “passive”, moving and resting, etc.) elements of a design object, expressing the specific connections of these combinations with the complex parameters of the object (total mass, volumetric-spatial indicators). In design I.e. - a kind of foundation for an emotional and sensory impression of the structure of an object.
The triple nature of the forms of implementation of design ideas (planar composition in works of graphic design, volumetric constructions in industrial design objects and spatial ones in the environment) determines the nature of the corresponding ones. In graphic diagrams this is mainly the relationship of color spots, font and linear elements, in volumetric ones it is a synthesis of a technical idea (which has its own principles of volumetric-spatial organization - axial layouts, combinations of a mover and moving and resting parts of a mechanism, etc.) and its methods tectonic display (massive, corpus or openwork formations that have received smooth or “spiky” outlines, color options, comparison of textures, etc.), in environmental systems - spatial combinations of architectural and design components. Moreover, within each of the base
Comparison of tectonic characteristics of design objects of different classes (according to Yu. Somov): a - openwork frame forms; d - massive hull; b, c, d - intermediate options
Each form has many variations of structural solutions. Thus, in industrial products the following types can be called: frame, shell, monolith, lattice system and, finally, a special form - “tectonics of soft materials” (clothing, curtains, sails, etc.).
Artistic content I.e. best illustrated by examples from the tectonic organization of the structural base architectural structures. Here this concept denotes the image active forces, a picture of their relationship, while the structure is the relationship of the actual forces holding the building. We can say that I.e. is a demonstration of the combination of opposites in the structure of a given system (the balance or dynamics of elements, the tension of their connections, the feeling of lightness or heaviness of the whole, in short - the play of forces within this system).
Palette of options I.e. even only in structural schemes, the environment is infinite: from massive, solid formations to frame, cable-stayed and inflatable. And each carries its own emotional and sensory content, which varies in the widest range - from absolutely stable, “eternal” impressions to ephemeral, momentary, even mystically surreal.
For example, the complex tectonic scheme of an environmental object is obviously a consequence of the composition, i.e. subjective, generated by the author's concept of vision of the conflict of the forces actually operating here. But it is perceived objectively and is comparable with variations of similar tectonic solutions, and therefore makes it possible to choose the best of them both from the point of view of the author and from the position of the customer.
You just need to remember that in an environment, at least three systems of its components have tectonic properties: structural-spatial (architectural), spatial organization of equipment elements (design) and a combination of them collaboration in the process of consuming the environment. Moreover, the latter system is very difficult to understand without analyzing the first two.
But it, as the most free from strict norms of utilitarian restrictions, is especially favorable for the emergence of original visual and semantic images, the identification of which is the main purpose of tectonic analysis in design.
The meaning of the word ARCHITECTONICS in the Literary Encyclopedia
ARCHITECTONICS
construction of a work of art. The term “composition” is more often used in the same meaning, and in application not only to the work as a whole (as A.), but also to its individual elements: the composition of an image, plot, stanza, etc. The concept of A. embraces the relationship parts of a work, the arrangement and mutual relationship of its components (components), together forming some artistic unity. The concept of A. includes both the external structure of the work and the construction of the plot: the division of the work into parts, the type of narration (from the author or on behalf of a special narrator), the role of dialogue, one or another sequence of events (temporal or in violation of the chronological principle), introduction into the narrative fabric of various descriptions, author's reasoning and lyrical digressions, grouping of characters, etc. A.'s techniques constitute one of the essential elements of style (in the broad sense of the word) and along with it are socially conditioned. Therefore, they change in connection with the socio-economic life of a given society, with the emergence of new classes and groups on the historical stage. If we take for example. Turgenev's novels (q.v.), then we will find in them consistency in the presentation of events, smoothness in the course of the narrative, an orientation toward the harmonious harmony of the whole, and the important compositional role of the landscape. These features are easily explained both by the life of the estate and the psyche of its inhabitants. Dostoevsky's novels (see) are constructed according to completely different laws: the action begins in the middle, the narrative flows quickly, in leaps and bounds, and the external disproportion of the parts is also noticeable. These properties of architectonics are in the same way determined by the characteristics of the depicted environment - the metropolitan philistinism. Within the same literary style, artistic techniques vary depending on the artistic genre (novel, story, short story, poem, dramatic work, lyric poem). Each genre is characterized by a number of specific features that require a unique composition (see “Composition”).
Literary encyclopedia. 2012
See also interpretations, synonyms, meanings of the word and what ARCHITECTONICS is in Russian in dictionaries, encyclopedias and reference books:
- ARCHITECTONICS in the Architectural Dictionary:
(from the Greek Architektonike - construction art) - an artistic expression of the structural laws of a building's design. Architectonics is revealed in the interrelation and relative position of load-bearing... - ARCHITECTONICS in the Glossary of Terms visual arts:
- tectonics, artistic expression of structural patterns inherent in the design of a building, as well as the composition of circular sculpture and volumetric works decorative arts; compositional... - ARCHITECTONICS in the Big Encyclopedic Dictionary:
(from the Greek architektonike - construction art) artistic expression of the laws of structure, the relationship between load and support inherent in the structural system of a structure or work... - ARCHITECTONICS in big Soviet encyclopedia, TSB:
(from the Greek architektonike - construction art), artistic expression of the structural laws inherent in the structural system of a building, as well as round sculpture or volumetric ... - ARCHITECTONICS V Encyclopedic Dictionary Brockhaus and Euphron:
(Greek) - theory of architecture and construction art. This expression is now rarely used and is mostly replaced by the word ... - ARCHITECTONICS in the Modern Encyclopedic Dictionary:
(from the Greek architektonike - construction art), artistic expression of the laws of structure, the relationship of load and support inherent in the structural system of a building or work... - ARCHITECTONICS
[from ancient Greek (construction art)] construction, proportionality of artistic... - ARCHITECTONICS in the Encyclopedic Dictionary:
and, pl. no, m. 1. architect. The natural relationship and combination in one whole of the elements of a structure or a work of sculpture; Same, … - ARCHITECTONICS in the Encyclopedic Dictionary:
, -i, w. (specialist.). The combination of parts into one harmonious whole, composition. A. buildings. A. novel. II adj. architectonic... - ARCHITECTONICS in the Big Russian Encyclopedic Dictionary:
ARCHITECTONICS (from the Greek architektonik; - building art), art. expression of the laws of structure, the relationship between load and support inherent in the structural system of a structure or... - ARCHITECTONICS in the Brockhaus and Efron Encyclopedia:
(Greek) - theory of architecture and construction art. This expression is now rarely used and is mostly replaced by the word ... - ARCHITECTONICS in the Complete Accented Paradigm according to Zaliznyak:
arhitekto"nik, arhitekto"niks, arhitekto"niks, arhitekto"nik, arhitekto"nik, arhitekto"nikam, arhitekto"nik, arhitekto"niks, arhitekto"nikoy, arhitekto"nikoy, arhitekto"niks, arhitekto"nik, ... - ARCHITECTONICS in the Popular Explanatory Encyclopedic Dictionary of the Russian Language:
-and, only food. , and. 1) architect. Artistic expression of the structural laws inherent in the structural system of a structure or building. Bridge architecture. 2) claim. ... - ARCHITECTONICS in the New Dictionary of Foreign Words:
(gr. architektonike construction art) 1) architect. artistic expression of the structural patterns inherent in the structural system of the building; 2) general aesthetic plan of construction... - ARCHITECTONICS in the Dictionary of Foreign Expressions:
[ 1. architect. artistic expression of the structural patterns inherent in the structural system of the building; 2. the general aesthetic plan for constructing a work of art, the fundamental relationship ... - ARCHITECTONICS in the Russian Synonyms dictionary:
composition,... - ARCHITECTONICS in the New Explanatory Dictionary of the Russian Language by Efremova:
and. 1) Proportional arrangement of parts, their harmonious combination into a single whole as an artistic expression of the compositional laws of something. buildings or works... - ARCHITECTONICS in Lopatin's Dictionary of the Russian Language:
architectonics, ... - ARCHITECTONICS in the Complete Spelling Dictionary of the Russian Language:
architectonics... - ARCHITECTONICS in the Spelling Dictionary:
architectonics, ... - ARCHITECTONICS in Ozhegov’s Dictionary of the Russian Language:
a combination of parts in one harmonious whole, the composition of a building. A. … - ARCHITECTONICS in Modern explanatory dictionary, TSB:
(from the Greek architektonike - construction art), artistic expression of the laws of structure, the relationship of load and support inherent in the structural system of a structure or work... - ARCHITECTONICS in Ushakov’s Explanatory Dictionary of the Russian Language:
architectonics, pl. no, w. (from the Greek architekton - builder). 1. Organic combination of parts into one harmonious whole (architect.). || location … - ARCHITECTONICS in Ephraim's Explanatory Dictionary:
architectonics 1) Proportional arrangement of parts, their harmonious combination into a single whole as an artistic expression of the compositional laws of something. buildings or... - ARCHITECTONICS in the New Dictionary of the Russian Language by Efremova:
- ARCHITECTONICS in the Large Modern Explanatory Dictionary of the Russian Language:
and. 1. Proportional arrangement of parts, their harmonious combination into a single whole as an artistic expression of the compositional laws of any structure or work... - GUILLAUME in the Newest Philosophical Dictionary:
(Guillaume) Gustave (1883-1960) - French linguist, author of the idea and concept of psychomechanics of language. Taught at the School Higher education in Paris (1938-1960). ...
(Diderot) Denis (1713-1784) - French philosopher and Enlightenment ideologist, writer, art theorist, head of encyclopedists. Main works: free author's translation and ...
ABSTRACT
ARCHITECTONICS OF LONG-SPAN SPACER SYSTEMS – CABLE SURFACES
Completed by a student of group 326
Stefan Marina
Checked by Professor Chelnokov A.V.
Dnepropetrovsk
1. What is architectonics?
2. Typology of tectonic systems:
· The concept of tectonics
· Tectonics of frame structures
Tectonics of vaulted structures
3. Spacer plane structures
4. Types of cable-stayed surfaces
o Coverings with parallel cables
o Coverings with radial cables
o Double-belt roofing with parallel cables
o Double-belt coverings with radial cables
o Coverings with suspended trusses and beams
o Combined and suspended systems
o Membrane surfaces
WHAT IS ARCHITECTONICS?
ARCHITECTONICS, (Greek architektonike - “main structure” from archi - “main” and tektainomai - “build, erect”). Architectonics is “alignment,” which in fine art means compositionality, clearly perceived integrity as a result of the artist’s organization of the subordination of parts, articulation, emphasis, identification of plastic connections between the whole and the detail, the main and the secondary, the center and the periphery, the ratios of masses, volume and space. At the level of formal organization, this phenomenon is called tectonics, and the corresponding quality of form is called tectonicity. The artistic and figurative integrity created on such a basis is by architectonics and, accordingly, artistic image(composition) - architectonic. Tectonics is a clear expression on the surface of the form of its internal structure (functional structure) through divisions and subdivisions. Architectonics is the same thing that expresses the artistic and figurative meaning of a form, a phenomenon that transforms formal tectonicity into semantic integrity (see also harmony, harmonization; “Dionysian architects”). Such an understanding of architectonics was always inherent in the masters of classical art, but was lost in XIX century in the art of academicism, which replaces composition with arrangement, and naturalism, where not only artistic organization, but even formal tectonicity is absent. IN famous book“The Problem of Form in the Fine Arts” (1893) A. Hildebrand (Hildebrand), a German sculptor and theorist, tried to contrast the destructive tendencies of a superficially descriptive and plot-entertaining approach to depicting the norms of the classics, the logic of shape-formation, the architectonic transformation of form, which is fundamentally different from simple copying nature. The architectural qualities of a work of art are achieved by using appropriate materials-means and methods-techniques (see composition). It is clear that the universal patterns of architectonics manifest themselves differently in different types, historical types, movements and styles of art. Naturally, the qualities of architectonics are most fully expressed in architecture. This is also indicated by the similarity of the terms. In the art of architecture, the building structure itself inexorably gives rise to tectonic qualities, and in the imagination in capable hands artist, these qualities are transformed into architectonics and, ultimately, into architecture as a form artistic creativity. But also in the field of architecture, atectonic styles have historically been formed, for example, Mannerism, Baroque, Rococo, Art Nouveau, neoplasticism, or “organic architecture.” Works of art of Classicism are fundamentally architectonic - this is their main compositional property. It manifests itself in all types and varieties of art: architecture, sculpture, painting, graphics. So the whole story artistic styles can be considered as the interaction (and predominance at certain stages) of two formative principles: tectonic and atectonic. Hence the architectonic method of shaping; it can be distinguished in comparison with sculptural, plastic, pictorial and graphic. The predominance of one method or another, depending on the specific tasks solved by the artist, determines the nature of creative process, the type of composition and, last of all, whether the result of this process - a work of art - belongs to one or another type of art (see morphology of fine art). In architecture, the architectonic method presupposes a clear division of the load-bearing and non-supporting parts of the building. The ideal expression of architectonics is the order. But in the art of architecture, the opposite method is also known - stereotomy (from the Greek stereos - “voluminous, dense” and tome - “dissection, cutting”). Tectonic structures are folded, stereotomic structures are “taken out, cut out” from the surrounding space. This opposition corresponds to the two main methods of form formation, common to all types of art - formation (Latin additio) and form subtraction (Latin divisio) and, accordingly, the qualities of sculpturality or plasticity of form (see style). In addition to the all-pervasive principle of architectonics, which determines the essence of compositional thinking with form in different types of art, the phenomenon of likening forms, the “romance of scales” is also known, when architecture, according to the principle of similarity, is reflected in the composition of “small forms” - products of applied and decorative art. This phenomenon is called miniaturization, it is characteristic of Gothic art and, in part, Italian Renaissance(see also imaginary). The opposite principle - maximization - is typical of the Baroque style. In Gothic art miniaturization architectural composition gave birth to original products. This is furniture made of carved wood - chairs, the high backs of which repeat the silhouette gothic cathedral. Metal products - architectonic reliquaries, monsters - were made in the form of miniature Gothic temples. They are simultaneously sacred, architectural and decorative. Miniature folding altars - diptychs, triptychs and polyptychs made of ivory, gilded bronze or silver, decorated with enamels and precious stones, - also likened medieval cathedral, for which they decorated it with turrets with pinnacles, cruciferous flowers, and crabbies. Even the huge, monumental altars made of carved and painted wood, installed in the naves of Catholic cathedrals in southern Germany, echo the architectural composition of the cathedral. The feeling of architectonics (with their saturation with plasticity and color) arises from the fact that the interior of a Gothic temple becomes the exterior of the altar and the architectonics of space determines the shape of everything that is inside. Therefore, we can say that the architectonics of the composition is an indispensable condition for integrity artistic space- chord perception, ensemble phenomena, stylistic interaction of components. The formal basis of such integrity is “harmonic resonance” (see proportioning). In the XVII-XIX centuries. The content of the term "architectonics", in contrast to tectonics, plasticity, composition and, finally, architecture itself, was not yet generally accepted. Architectonics was simply called the theory of architecture, the patterns of formation in this form of art, which had its own historical meaning. In antiquity and the Middle Ages, architectonics was the name given to secret, secret knowledge ancient builders of the brotherhood of "Dionysian architects", later - the Freemasons. The word “architect” had the same hidden meaning.