Man is an amazing creature! It contains both dense andsubtle, high and low, the desire to fall and fly up, at the same time there is a desire to be needed and free, to live incomfort and security, and painful feelings: guilt, resentment, fear, pride, the desire to help one’s neighbor and complete chaos in one’s own life.
How to figure out what, why, what are the reasons for certain desires, events, relationships?!
Real help in understanding what is happening is provided (can be provided) by knowledge about the structure of man, more precisely about his architecture.
Medicine and its various fields and directions have information about the dense component.
Some of the knowledge about the subtle structures of man is known to various esoteric teachings, and some is known to religions.
We chose a time of change to appear on Earth, grow, and mature. Complex, difficult, but incredibly interesting! Over the past six months, a lot of information has come about the history of the development of the Universe, the Earth, humanity, and the country. Information is constantly updated with amazing discoveries - about time, or rather, its absence, about the ability to print!!! various organs, includinghuman, about methods and technologies for increasing life expectancy, about the holographic structure of the Universe, etc. etc.
But what does all of the above have to do with our everyday life, withsuccesses or conflicts at work, family relationships, gas and food prices? Oddly enough, but it turns out it does.
Everything in the world is energy and information corresponding to this energy.From these positions, let us consider the architecture of man, his main hypostases and their interactions.
Man is a combination of three main components: - the Divine Life-Giving Spirit, the Soul and the Corporeal Spirit.
The Corporeal Spirit (CS) serves (is) a carrier of information and a source of energy for everything dense in the material (physical) body of a person.
The soul is the carrier of information and energy of the emotional (astral) body of a person.
The Divine Life-Giving Spirit (BZD) contains information and concentrates energy to fulfill the Purpose. The Divine Spirit has no emotions. There is information about the contents of the Destination, givenV huge quantities energy to carry it out.
The body is a disposable instrument used to perform Purposes.
Soul and Spirit are substances that can enter into Bodies in various temporary, natural, social conditions repeatedly, in various combinations. It is the Soul, upon entering the Body, that chooses the conditions under which it can be cleansed with maximum efficiency. Then she will become a light essence, a substance, and the need for her to incarnate, exist and communicate in the dense material world will disappear. Her ultimate goal is to stop the Wheel of Samsara, to break the Karmic circle of cleansing suffering.
Man is so complex that you are amazed. It seems that everything about him is already known: and chemical composition, and how the organs are located, and how many and what genes exist in it. But no! The time comes, and all previous knowledge is revised. And the new thing that you learn about YOURSELF leads us into a state of shock, and then ecstasy.
It turns out that in addition to the body, there is also a Soul, and even evidence of its existence is found. And now it turns out that in addition to the Soul, there is also a Divine Life-Giving Spirit in man.
Is there a place on Earth where there is no God? No!!! Does it exist in us, people? Logically, if there is no such place, then it SHOULD be in us!? That is, the Divine Life-Giving Spirit is inside EACH of us!
Understanding this comes as a shock at first. Not a handsome old man with a beard sitting somewhere on a cloud, but here, inside me???!!! But this changes, almost completely, the entire understanding of the world order.
First - so it turns out that God is Me?
Secondly, what is He doing inside me?
Third - if God is inside me, then why am I living so badly? Sadly?
If God is NOT the old man on the cloud, then who made my life what it is? I?!!!?
I don't have money, and it was me who did this?
I'm overcome by illnesses, and what, did I do this too?
Yes, this is just nonsense!!! Am I my own enemy?
And one more question - WHY? If this whole nightmare was created by me, then why???
So I have a Body. I know him. Okay, it eats, walks, works, but what are the rest of me doing?
Man is manifested simultaneously in three forms; this is the Divine Life-Giving Spirit, Soul and Corporeal Spirit (Body). Or: - the Divine Spirit, Soul and Corporeal Spirit are manifested in a person at the same time.
The Divine Life-Giving Spirit determines the fulfillment of the PURPOSE of each person. One of mandatory tasks within PURPOSE is development. To ensure my development and to fulfill my PURPOSE, the Divine Life-Giving Spirit takes ANY measures.
He has his own tasks - to lead me, my Body, to fulfill my PURPOSE. The body has no idea what it is (only occasionally in top part Some strange thoughts are breaking through the body).
The soul deals with emotions and feelings. Everything, any feelings belong to the sphere of activity of our Soul.
It is believed that children come into this world with a pure Soul. Only one smiles from birth, the other tries to bite everyone, even without even having teeth. Children of the same parents differ greatly from each other even in infancy. I want to bring you to the idea that we come into this world with a Soul filled with not always pure and bright feelings, with certain Soul tasks.
During previous incarnations, we committed sins with our actions, thoughts and words and accumulated Karma for ourselves. In this incarnation we are given a chance to reduce it. Previously, it was possible to purify the Soul only through suffering, but now we are given the opportunity to purify it with knowledge.
And who knows what this or that person is worthy of? Only GOD. Where is he? Inside us. And sincere Faith allows a person to accept everything that happens to him for development. The Corporeal Spirit is responsible for everything material in a person’s life. For the body, partners, money, etc. The world has everything. And a person gets everything he deserves. What pollutions of the Soul do you encounter most often? This is the fear of being free, and the fear of being happy, the fear of money, the fear of poverty, jealousy and envy, greed and revenge, but the vast majority of these spiritual qualities grows out of pride. It is not for nothing that it appears in the Bible before the sin of murder.
The pride of people is trying to fight the Divine Spirit by establishing “new” orders. But...sooner or later a person has to go through the lesson that is intended for him.
Therefore, when parents, citing the fact that they know better how it should be, supposedly help their children, they only prevent their children from learning their lesson on time, in fairly comfortable conditions. Children will still learn the material, but later, harder and without parents.
The Village continues to promote effective self-education. This week, we're working with experts to figure out what books and magazines to read, what to watch, and where to study in order to independently reinforce your knowledge of architectural trends or prepare for receiving an appropriate education.
Alexander Ostrogorsky
MARSH teacher, head of department educational programs Museum of Moscow, architectural journalist
Architecture in general, like music in general or science in general, is too large a field of interest to indicate only one approach to it. Unless your first step is precisely this - studying the space of architecture and searching for your interest in it, your favorite subject. Architects and critics have been doing this for several hundred years in a row with a formula invented by the Roman architect Vitruvius, who in the 1st century BC. e. wrote his “10 books about architecture”, in which he pointed out the three main properties of architecture - benefit, strength and beauty. Although more than 2 thousand years have passed since then, it seems that a better definition has not been invented. These three criteria are both a way to evaluate any building and directions for improving your own ability to understand architecture. That is, to see how some buildings are at the same time useful, durable, and beautiful (one follows from the other), while other buildings are not (however, this is not always clearly bad).
I have come across several, perhaps universal, motives that motivate a person to be interested in architecture - although, of course, this is only my experience. But I would prefer to start from universal human ideas about what architecture provides or why it is important, rather than from the sometimes very different views of the architects themselves, the structure of architectural education, or the views of critics. I am saying this in order to ask forgiveness in advance from those readers whose interests will be outside the scheme that I am going to use, or those who already have their own or familiar scheme, which seems ideal to him or her (and mine will seem heretical) .
So, in relation to architecture, all people can be divided into those who...
...like beautiful things. Beauty is probably the most difficult category for architecture. First, architecture is not a mimetic art, that is, buildings do not represent anything (there are exceptions, although not often), so the “pleasure of recognition” that Aristotle considered the basis of aesthetic pleasure does not arise here. As in music, beauty in architecture is rhythm, proportion, relationships of shapes, colors and materials.
The famous German-English architectural historian and critic Nicholas Pevsner once said: “A bicycle shed is a structure, Lincoln Cathedral is an architecture.” In other words, all architecture is a building, but not every building is architecture. Now there are many who would like to argue with this statement, but there is some truth in this thought: architecture begins where the creators of the building - be it a famous architect or nameless masons - tried to go further than solving practical problems. The question is where exactly they wanted to go, why and what they came up with. These questions are more or less answered by the history and theory of architecture. Each era, each country and tradition offered its own programs and sets of tools. Not everything seems intuitively “beautiful” to us today - we judge Egyptian pyramids not at all like the monuments of the Renaissance, but modern architecture Many people find it monotonous and faceless.
It is tempting to determine the value of buildings from one era in relation to buildings from completely different ones, especially if they stand next to each other, as is the case in the city. Well, taste is everyone’s business; some like the columns of classical facades, others like the ribbon windows of constructivist ones. But we must not forget that they are the result of different situations, and measuring them with one yardstick is not entirely correct. Another thing is surprising (however, it is the same with any other art) - the more you learn about how the architects thought and what they were striving for different eras, the wider the corridor of individual taste preferences becomes.
...like the story. Architecture in to a greater extent More than any other art, it is a living witness to history. Each building is a product of its time, an intersection of social, political, cultural and technological phenomena. To decipher a building as a message to the future, as an entry in a chronicle, means solving a fascinating puzzle. Oddly enough, here the formula proposed by Pevsner works rather the other way around - nondescript, utilitarian objects sometimes say more about their time than masterpieces of architecture. Compare Khrushchev and, for example, the Palace of Pioneers on Sparrow Hills - only together they can give the correct impression of Soviet culture and life in the 60s. The Old English Courtyard, miraculously preserved on Varvarka - essentially the chambers of a wealthy citizen of the 15th century - better illustrates Moscow life of that time than the nearby Faceted Chamber, built around the same time for Ivan III by Italian architects.
...like technology. Each building is also a solution to an engineering, construction problem with a large number of variables: human needs, gravity, properties of materials, price, skills of builders, and so on. Sometimes the architect finds a solution that does not interfere with aesthetics, sometimes he has to fight with technology for artistic image. What is better - beautiful, but not too durable, or strong enough, but not pleasing to the eye? It happens both ways. The Khrushchev buildings mentioned above, like most of the Soviet industrial housing construction, are the result of the almost complete victory of economic and construction technologies over aesthetics. Santiago Calatrava's projects, which delight many with their outstanding engineering solutions, are constantly reproached for the fact that they do not work as well as they look great, and besides, they cost astronomical sums. One way or another, since the end of the last century, technology and its capabilities have become one of the main topics of architecture. Be it the construction of the most tall buildings(such as the Burj Khalifa) or the most environmentally friendly - today, for the largest architectural projects in the world, it is often technology that becomes the basis of the aesthetic program.
...I want to understand how the world works. If architecture helps us learn about the past, then it says no less about the present. Why are skyscrapers needed? Who allows old beautiful buildings to be demolished and new, ugly ones built in their place? Why do some people live in luxury mansions, while others are in the slums? Strangely enough, people often address all these questions and many others to architects, including the eternal “who invented, tell me, these traffic jams.” At the same time, architects do not have such a great influence on the development of the city. Architecture and concrete buildings are illustrations, symptoms and indications of many problems of the modern world, as well as a laboratory for finding answers to them. If there was a Vitruvius oath (like the Hippocratic oath among doctors), then it would certainly have been written in it that the architect must be a little bit of a doctor, a teacher, a psychotherapist (“talk to the client about his children” - this is the advice of the German modernist architect Mies van der Rohe), policeman, politician, economist and, of course, artist, engineer, builder and so on.
What to read
What to watch
"Architecture as a means of communication"
The course by Professor Vadim Bass of the European University in St. Petersburg at Arzamas is dedicated to the messages contained in world architecture. In addition to eight small lectures, as usual at Arzamas, on the link you can find a selection of books about architecture, games and even one Monty Python sketch.
“How long does it take to run your building, Mr. Foster?”
A documentary about the career of Pritzker and Imperial Prize winner 80-year-old Briton Norman Foster, who designed International airport in Hong Kong, the Millennium Bridge in London and the Hearst Tower in New York.
"My Architect"
Oscar-nominated film about architect Louis Kahn, directed by his son Nathaniel many years after mysterious death father.
"Sketches of Frank Gehry"
And one more documentary about the hero of architecture - this time, filmed by Sydney Pollack, the life story of the pioneer of deconstructivism Frank Gehry, who designed the famous “dancing house” in Prague, the Guggenheim Museum in Bilbao and the Weisman Museum of Art in Minneapolis.
Alejandro Aravena's TED talk
The famous Chilean architect Alejandro Aravena considers it his life's work to overcome social barriers in cities. To do this, he designs houses for the poorest families, making these buildings not only inexpensive and comfortable, but also outstanding in architectural terms. Aravena became the curator of the Venice Architecture Biennale in 2016, which will focus on improving the quality of the built environment and people's lives.
TED talk by Bjarke Ingels
Bjarke Ingels is one of the most famous architects new generation. It combines bright design and functionality in its architecture without sacrificing comfort. During this talk, he talks about how easily architectural stories can be told - for example, in the form of comics.
A basic course in the history of architecture of 24 lectures covers the period from the first human settlements to the 15th century. Designed mainly to give students general knowledge of the subject. All videos are also supplemented with materials from the textbook on the world history of architecture.
Where to study
WHERE: lecture hall of the Museum of Moscow
PRICE: for free
Text and interview: Katerina Firsova, Nastya Kurganskaya
Illustration: Olya Volk
Architects tend to think about architecture all the time. Not only about famous buildings and projects. In any little thing that catches my eye, I immediately look for an architectural beginning, I begin to peer into the material, shape, details, lighting, and so on. If there is any trip ahead, then first of all I make a list of objects that I absolutely must have time to see. And 90% of all the books that I bought for myself are about architecture.
2. People respect architects
Even if they do not always understand what exactly an architect does, there is an established opinion about architects as highly moral and responsible people who work, first of all, for the benefit of humanity. For the same reason, in movies and television, the main characters are often portrayed as architects.
3. Architecture is constantly evolving
Architects are not artists - we work in constant contact with construction technologies. Materials and construction techniques are constantly evolving, and architects, as representatives of the public in in a broad sense words - can influence these processes. New projects and concepts are being created that determine the vector of development construction industry. Architecture is one of the few professions that is in constant flux.
4. An architect has freedom of creativity and self-expression
Working with physical environment, the architect constantly deals with specific conditions that often guide the development of the project. But already within these conditions there is complete freedom to express one’s artistic ideas. Take any competition: all teams work with the same terms of reference, but the results are completely different. And so every time.
5. You can be your own boss.
Even if a company consists of one person, it is still capable of fully developing projects of almost any scale. You can single-handedly enter a major competition and win it, beating big companies- I don’t think there are many other professions where this is possible. I've seen it more than once project teams of three people developing construction documentation for a building with an area of more than 100 thousand square meters. m.
6. The result of your work is tangible
Anyone who sees a newly built building that they have worked on for a long time will understand what we are talking about. I still get emotional when I see my first project completed - it's like running your own laboratory where you can experiment and improve the things you think are important. After all, it’s not for nothing that architects are very sensitive to their projects.
7. You can positively impact people's lives.
It is very beneficial to develop a personal relationship with the client, especially knowing that this process will positively affect the final result. By evaluating the final product, people recognize the role that the object plays in society.
8. Every day an architect experiments
Despite the need to comply with specific building codes and technologies, the final result You can always come in different ways, and each of them will be correct. Because no two architects will solve a problem in the same way under identical circumstances. You can tell that everyone puts a little personal touch into every project. You constantly have to try new techniques, learn various materials and apply new technologies in every project.
9. Architectural careers are long lasting.
You can practice architecture for as long as you want. In any case, you will always remain an architect, even if you no longer work as one. Perhaps this is why most architects achieve success closer to 50 years of age. Probably, you first need to come to some kind of understanding of yourself as an individual, and only then begin to influence the environment.
10. There is an incredible variety of fields within the architectural profession.
Unlike other professions, you receive an architecture degree without a precise definition of the field of activity. And this is really wonderful, because just after finishing your studies, you yourself still don’t really know what you want to do in life. You can move between small and large firms, changing your role in the design process. You can work in different topologies: residential, office, interior design... but you will still be an architect.
Bonus: Architects can wear oddly shaped glasses. And they can get away with it.
Every profession comes with its own set of challenges. This may be low wages or lack of prospects, the presence of labor-intensive tasks or “difficult” clients. Let us give as an example 10 arguments that will help you take a sober look at your chosen profession.
1. Yours social life is unlikely to be diverse.
Friends of architects are also architects. There are two explanations for this. Firstly, these are the only people you come across every day because of point 3. Secondly, common interests force you to find people like you (after all, even at 5 in the morning an architect does not stop being an architect). I know at least 10 couples , in which both spouses are architects. But I don’t know a single lawyer whose wife is a lawyer, or a doctor who is married to a nurse - which cannot be said about architects. But really, why does this happen?
2. Working conditions are not as good as we would like
I have not personally researched this issue, but formed my opinion based on feedback from my colleagues working in other architectural firms. Most architectural firms do not provide their employees with the conditions that are taken for granted in other professional industries. I'm talking about retirement savings accounts, vision and dental insurance, the ability to take long vacations and have a flexible spending account. I am one of the few who are lucky in this regard.
3. You will have to work a lot, but few will appreciate it
The time you spend on a project is proportional to the quality of the final product. It is very difficult to distinguish between the desire to do something worthwhile and how much time you have to spend on its implementation. As a result, architects end up sitting late into the night, devising countless designs to solve a problem. But you might ask, you can finish the task tomorrow or next week. No. Typically, architects are driven by deadlines. At the same time, your company is unlikely to pay you for a 16-hour work day - after all, they also have to pay for the rent of the place you occupy, for the computer you use, for the electricity you burn all night long, etc. If you are given 200 hours to create a project, and you work 8 hours a day - it will be 25 days. If you work 16 hours a day, then these are still weeks beyond the existing period, which are no longer paid.
4. Your ideas don't matter.
Your customers hire you to get a product they want, not you. The result is that you are not doing exactly what you would like to do. Most projects are done for profit, and it doesn’t matter whether it’s a good project or not, the main rule of success in modern world- do more by paying less. There will be times when you will be asked to do something that you yourself consider terrible and completely unacceptable.
5. If your ideas are that important to you, you'll probably get fired.
Architects are stubborn by nature and like to insist on their own. Assuming that the client can be persuaded or offered an alternative, they are often seriously mistaken. I was once removed from a project for trying to remove a client from a project. I didn't want my name to be associated with their project in any way.
6. Not all architects have interesting jobs.
95% of your time at university was dedicated to design, not working with clients, figuring out details, developing a project plan and editing. Very few people are directly involved in the creation of the project. You would probably never have thought that your work would be so boring and dreary. It's as if you needed to assemble a car in parts just to drive it on the street once. A lot of time is spent on designing a building; this has little connection with creativity.
7. Yours own house will make you depressed
You won't be able to afford your dream home. I managed to live in 5 houses during 15 years of working as an architect and all this time I was thinking about how to improve the space around me, but in order to bring all my plans to life I needed to win the lottery. However, everything is in your hands. You just need to be patient.
8. You will live with terrible decisions.
The nature of architectural work often involves experimentation. Sometimes you will have to make terrible decisions, you will know that it will ruin people's lives, but you will have to accept it and move on with your life. The good news is that the building you built can be demolished, and then your mistakes will be forgotten. Yes, by the way, your project may also be thrown out over time. Be prepared.
9. Architecture requires great job and dedication
Architects study for a long, long time, pass difficult tests, work for many years to gain experience. There are many professions in the world in which you can advance much faster with the same effort. If you want to become a lawyer, you will need 4 years of university study, then another 3 to consolidate your knowledge - 7 years and you are in the ranks! It took me 6 years and 207 hours to get my bachelor's degree. Then I worked for 6 years and didn't get a significant raise. wages. In short, you must know exactly where you are going.
10. You may not be a designer.
In my class, every second person was sure that he would be a super designer. Almost no one ever became one. You'll have to do a whole bunch of other things.
Given academic year is devoted to the content and language of two types of cons-
manual arts - architecture and design and their place in the family are already known
Which plastic arts do we need (fine, decorative). These
species are related by many general forms expressive means and life
functions. There are no impassable borders between them, but they arose
V different times and are associated with different aspects of society. Arch-
texture as an art arose with the birth of human society.
Primitive residential buildings and ritual structures (menhirs,
dolmens, cromlechs) convey to us the forms and content of the interrelationship
ideas and worldview of the people of those centuries.
The architecture of any century, of any nation is also a monument
human relations, enshrined in both everyday and religious
buildings. Architecture organizes these relationships, creating for their implementation
lization of a certain environment. With the change in relations in society,
The architecture itself comes into play. However, the language of this type of art is always structured
was and is now being built on the organization of space (buildings, cities, villages,
park) and its habitation by humans. Based on differently used
the same elements of form (vertical, horizontal, volume, spatial
quality, texture, color, etc.)."
Design as an art emerged in the 20th century. Its predecessor can be considered
primitive tools (axe, etc.), but the emergence of this species
art is firmly connected with industry, with the flourishing of industrial
nogo production. Design is now related to the creation of the entire environment.
reaping us objective world. From clothes, furniture, dishes, to cars,
machine tools, etc. Nowadays it is difficult to define architecture or environmental design
This includes the organization of, for example, parks, exhibitions, pavilions, etc.
The connections between architecture and design are determined by the common foundations of figurative
language (volume, shape, space, texture, color, etc.).
The basis for combining design and architecture into
one educational block is to consider them as constructive
different species compositional creativity. Principles of spatial
volumetric compositions are the same for both architecture and design. At
In this approach, objects of design and architecture are topic containing
niya composition, planar or volumetric-spatial.
Every modern man lives in an environment of “second nature”, creating
given the actual architecture and design. In order to be qualified
user defined by all this complex world buildings, con-
structures, objects, materials, he must be fundamentally literate
both in the language of these arts and in the foundations of their existence. Get to know these
types of arts are possible only in the unity of language (figurative structure) and life
functions. Optimally, this knowledge and its development can be obtained
can only be achieved by combining theoretical study of their functions and practical
technical work on modeling the fundamental elements of these
arts
The study of constructive arts in this thematic block,
rests firmly on great material previous years of study
architecture and design, mastered by students who worked in this program
grams in elementary school(three types artistic activity -
figurative, decorative, constructive).
Topic 1. ARCHITECTURE AND DESIGN - CONSTRUCTIVE
ARTS IN THE RANGE OF PLASTIC ARTS
Constructive arts among the plastic arts. General and
new in figurative language foundations and vital functions of constructive and
fine arts arts Architecture and design - as a “second priority”
kind" as the man-made environment of our habitat. The diversity of modern
new material and material environment. Planar composition in design. Once-
variety of printing design. His artistic composition
positional, visual-psychological and social aspects.
Materials: paper white, black and colored; clippings from periodicals
Russian publications (photos, fragments of fonts, headlines and column text)
hundred, graphic elements), glue, scissors, gouache, brush.
Visual range: P. Bruegel "Census in Bethlehem." Vermeer
Delft "Street". Canaletto "Doge's Palace in Venice". Versailles
(Louis's bedroom, Hall of Mirrors). K. Malevich "Black Square",
"Suprematist composition". Samples of font posters with "spot".
V. Kandinsky "Composition". P. Mondrian "Composition". "Art
font". Collection. Logo, photo poster, sample covers and spreads
magazines.
Design and architecture - the unity of artistic and material
culture(1-2 hours)
Historical aspects of the emergence of the art of architecture and design
on. Specifics artistic language and functioning of two types
constructive arts. General and different constructive and depictive
body arts - as types artistic culture. Subject-
the material world of our environment. Art and industry. By-
attention to design and architecture as a sphere of artistic and material
noah cultures. Functional and aesthetic unity of the figurative in architecture
tour and design. On the compositional foundations of constructive creativity.
The topic is revealed in the form of conversation and analytical-compositional
working with illustrative material on the issues covered.
Fundamentals of composition in the constructive arts
Volume-spatial and planar composition. Basics of Composition
positions: symmetry and asymmetry, harmony, contrast, mass balance And her
the simplest elements (rectangles, straight lines, points, etc.) Composition
centered and open.
The topic is solved as the creation of graphic collages to solve com-
positional tasks: harmonization and balance of black and white masses (direct
squares and lines), their symmetry and asymmetry, etc.
Artistic and emotional expressiveness of planar
compositions
Solution with the simplest compositional elements of artistic
emotional tasks. Rhythm and movement, discharge and tension.
Straight lines and arbitrarily free forms of lines and spots. Figuratively
artistic meaningfulness and meaningfulness of the simplest plane-
rich compositions. Montage of connections of elements, generating
new image. The transition from the simplest compositions to the layout of printing
Russian design (postcard, poster, advertisement).
The topic is solved in the process of creating collage-graphic works with
different types compositions (closed, open, centered, free-
Noah, etc.).
Graphic Design Forms
The book is a synthesis of words and images. Font art(1-2 hours)
A variety of types of printing design: from business cards to books.
Combining text and image. Type art and photo introduction
images into a composition. Understanding the printed word, typographic
lines, graphic and photographic images - as planar elements
compositions. Collage composition: imagery and technology.
In practice, the topic is solved as compositional constructions from lines
and photographic images (collage or computer), as well as graphically
compositional analysis of figurative structure various types printing
design (books, magazines, advertising, etc.).
Principles of compositional constructions in printing design
zaine (Magazine spread or cover layout) (2-4 h)
Layout of the printed publication - figurative and semantic unity of the image
expressive and textual elements in the solution of planar composition
printing edition.
The topic is resolved in practical work above the spread or cover layout
magazine spoons using font and visual composition
nenta (collage or computer).
Topic 2. SOCIAL MEANING AND LITERARY LANGUAGE
CONSTRUCTIVE ARTS(7-14 h)
Historical aspects of the development of the artistic language of constructive
nal arts. From a hut and a stone ax to an industrial city
construction. The connection between worldview, lifestyle, natural and social
conditions with the construction of buildings and the organization of the urban environment
yes. Living space is the basis of figurative expressiveness of archi-
textures.
A building is an object in space, in urban planning. Understanding
architecture - as volumetric-spatial artistic thinking
nia. From planar image to volume-simple prototyping
early compositions.