Architecture (lat. architectura, gr. archi - main and tektos - build, erect) - architecture, the art of designing and building. Architecture creates a materially organized environment necessary for people to live, in accordance with its purpose, modern technical capabilities and aesthetic views of society. As an art form, architecture enters the sphere of spiritual culture, aesthetically shaping a person’s environment, expressing social ideas in artistic images: a person’s ideas about the world, time, greatness, joy, triumph, loneliness and many other feelings. This is probably why they say that architecture is frozen music. The architect cares about the beauty, usefulness and strength of the structures he creates, in other words, aesthetic, constructive and functional qualities in architecture are interconnected. The historical development of society determines the functions and types of structures, technical structural systems, and the artistic structure of architectural structures. In different historical periods A variety of building materials and technologies were used, which significantly influenced the creation of architectural structures. Modern level Developments in technology, the use of reinforced concrete, glass, plastics and other new materials make it possible to create unusual shapes of buildings in the form of a ball, spiral, flower, shell, ear, etc.
In architecture, functional, technical, and aesthetic principles are interconnected: utility, strength, beauty. Basic means of expression used in architecture - composition, tectonics, plasticity of volumes, scale, rhythm, proportionality, as well as texture and color of surfaces of materials, synthesis of arts, etc. Architectural structures reflect artistic style era, like works of any other form of art. In its artistic and figurative side, architecture differs from simple construction. Architects create an artistically organized space for human life, which is a possible environment for the synthesis of arts. World-famous architectural structures and ensembles are remembered as symbols of countries and cities (pyramids in Egypt, the Acropolis in Athens, the Colosseum in Rome, the Eiffel Tower in Paris, skyscrapers in Chicago, the Kremlin and Red Square in Moscow, etc.).
Architecture and fashion not only feed on the same ideas, they even use the same professional terms: texture, ornament, sketch, size, image. Issues of a unified approach in setting a creative task and the relationship between the design activities of architects and clothing designers are of interest to art historians around the world and are constantly discussed on the pages of various publications. For example, in the article “Body structure” Alessandra Paudice / Alessandra Paudice ( Vogue No. 3, March 2002. pp. 292–294) quotes Tom Ford: “Both clothes and buildings are the shell in which a person lives.” Architecture is seen as a macrocosm, a living space. Fashion is a microcosm, a second skin that a person can choose for himself. An architectural structure protects a person from the outside world. Clothes help preserve our inner world. The first to compare architecture with clothing was the Roman architect Vitruvius, who lived during the time of Emperor Augustus. In his treatise “On Architecture” he wrote: “From the beauty of the naked body we move on to columns one-eighth thick of their height; where a person's legs are, there is a column's base. The capital is similar to human head with curls, she is decorated with ornate patterns, like a wreath of fruit decorates a hairstyle. The flutes that trace the body of the column look like falling folds of fabric.”
The dialogue between fashion and architecture reached its peak at the end of XIX – early XX centuries, during Art Nouveau and then Art Deco. Architects of the time - Peter Behrens, Henri van de Velde and Frank Lloyd Wright - experimented with design women's clothing. It was an era of simple forms, undecorated buildings with open plans and fluid spaces. This style was reflected in fashion thanks to Paul Poiret. He freed women from corsets and later dressed them in trousers and empire-line dresses that allowed freedom of movement.
One of the first fashion architects was Charles James (1906–1978), who introduced quilted satin coats, the prototype of modern puffers, into fashion. Yves Saint Laurent, Thierry Mugler and Azzedine Alaïa admitted that it was from him that they learned the architectural approach to clothing. An architect by training, one of the key designers of the 60s, Paco Rabanne is known for his experiments with materials atypical for fashion - paper, plastic and metal. Instead of scissors, needles and thread, he used pliers, screwdrivers and hammers. He is more of a builder than a tailor. However, all these non-plastic materials, like fabrics, followed the lines of the body. Politecnico di Milano graduate Gianfranco Ferre is often compared to outstanding architect started XX century by Frank Lloyd Wright. He has always been famous for his precise volumes and perfect shapes, and his famous shirts seem not sewn, but mocked up from crisp white paper. The architectural past sometimes helps to create not monumental, but very practical and comfortable clothes. The designer of Yugoslav origin Zoran, who dressed Isabella Rossellini, with his extreme minimalism is reminiscent of the founder of this movement in architecture, John Pawson. It hides from view even such necessary details as buttons, seams and zippers. In the great works of sartorial art, the solemnity of an architectural structure coexists with the ephemerality and lightness of fashion. Architects' passion for fashion has been brought to its logical conclusion, designing clothing becomes the main business of their lives, architectural education allows specialists to lead the production of clothing and boldly experiment with new materials (Elena Serebryakova, Irkutsk).
These days, the union of fashion and architecture has become stronger. Calvin Klein chose the famous minimalist John Pawson to create his boutique in New York. Miuccia Prada entrusted her New York boutique to Rem Koolhaas. Jan Kaplicki and Amanda Livet from Future Systems created the Marni boutique.
In the 90s XX century, Jan Kaplicky, who was then living in Prague, tried to design clothes. But the best “clothing” he created was the streamlined metal case that decorated the new department store building Selfridge's in Birmingham. “We are faced with the same problem that Paco Rabanne faced in the 60s,” says Kaplicki. “We had to create a fairly flexible coating, because the shape of the building was quite complex. We had to make a case out of small pieces. Many architects are afraid of being influenced by fashion, but unconsciously absorb it. Fashion is too influential. She is always looking for new forms and materials. This is exactly what traditional architectural approaches lack.” This is a great example of how the experience of a fashion designer can be translated into architectural language. Kaplicka's buildings are always recognizable by their organic architectural forms. For him, living space is not geometric rigidity, but the plasticity of the human body with all its curves.
In Fig. 2 pleated basques and trains of women's dresses in the collection G.F.F. their sinuous outlines resembled balconies Casa Battlo , the famous creation of Antoni Gaudi, whose flowing lines are reminiscent of the soft forms of living nature.
Rice. 2. Fluid lines of balconies Casa Battlo (1905–1907) architect Antonio Gaudi
reminiscent of the soft forms of living nature, echoed by corrugated basques and trains
in women's dresses from the collection G.F.F.
Embroidery on crinolines from the collection Yohji Yamamoto as if borrowed from the façade of a Renaissance cathedral (Florence, mid. XV century) (Fig. 3). Yohji Yamamoto in the spring-summer 2002 collection almost copies the light and festive design of the facade of the Cathedral of Santa Maria Novella by Italian architect Leon Battista Alberti. Fine details in the latest collection Gucci similar to the round windows typical of the Italian Middle Ages.
Rice. 3. Embroidery on crinolines from the spring-summer 2002 collection Yohji Yamamoto
as if copied from the facade of the Renaissance Cathedral of Santa Maria Novella by the architect
Leona Battista Alberti
Many images and rigid geometry of 60s fashion XX centuries echo famous architectural structures. The minidress, designed by André Courrages in 1968, is very similar to Villa Savoye in Poisy, France (1928–1929) - a one-story building on stilts, built by Le Corbusier. Stitched, geometrically shaped pockets on the Courrèges dress model, shown in Fig. 4, resemble windows, and the hats resemble roofs.
Rice. 4. The rigid geometry of the minidress designed by André Courrages (1968)
reminds Villa Savoye – a one-story building on stilts, built by Le Corbusier
in Poissy, France (1928–1929)
The architect and the costume designer use the same forms, inspire each other, and exchange ideas. In Fig. 5 we can compare technogenic forms in fashion and architecture. It is not at all surprising that Pierre Cardin's balaclava (1967) is so similar to the John F. Kennedy Airport terminal in New York, built in 1956-62 by American architect Ero Saarinen.
Rice. 5. Technogenic forms in fashion and architecture: balaclava by Pierre Cardin (1967)
and the John F. Kennedy Airport terminal in New York (1962) by architect Ero Saarinen
The analogy in the decorative and spot divisions of the costume and architectural structures is manifested to a lesser extent. An example is shown in Fig. 6 patchwork kaleidoscope on a dress Christian Lacroix from the fall-winter 2001–2002 collection. and the facade of a house in Vienna (1983–1986) by the architect Hundertwasser.
Rice. 6. Patchwork kaleidoscope on a dress Christian Lacroix from the collection
autumn-winter 2001–2002 and on the facade of a house in Vienna (1983-1986) by the architect Hundertwasser
In the Viktor & Rolf collection spring-summer 2002. Numerous bows and draperies recall the rich and exuberant Rococo style. In Fig. 7 the giant perforations and vaults of the palm greenhouse in London are compared botanical garden(1870s), architects Desimau Burton and Richard Turner.
Rice. 7. Perforation in the model Viktor & Rolf and the vaults of the Palm Greenhouse in London
botanical garden (1870s), architects Desimau Burton and Richard Turner
The connection between clothing and architecture also has deeper roots: both architecture and costume are functionally determined by man. Like the suit architectural structure serves as a means of covering a person, his hearth, and family from the effects of bad weather. The principles of organization of architectural masses, lines, shapes, proportionality of building divisions, manifestation of the properties of materials - not only tectonic, but also textured - are the direct carriers of figurative content, which are then refracted in the lines and divisions of the volumes of the costume, its rhythmic structure, and the nature of the use of the material.
Thus the dome of a cathedral or the roof of a pagoda resembles a headdress; the arch line - a symbol of the stability of the opening or ceiling - can be refracted in the lines of a wide waist or shoulder garment of an oval or trapezoidal silhouette. There is a stylistic connection between costume and architecture, which is expressed in commonality, unity of imagery, similarity of silhouette, and the fundamental diagram of internal divisions.
As already noted, the subject of the study is the architectonics of screen adaptations of literary works. First, it’s worth defining the terms - what do we mean by architectonics in this context?
The word “architectonics” came to us from architecture. “Architectonics” (Greek - architektoike) - the art of construction. According to Ushakov’s Explanatory Dictionary, “architectonics:
- 1) organic combination of parts into one harmonious whole (architect.), arrangement of parts, composition of some kind and be an artistic whole (art.), Architectonics of a novel, story;
- 2) department of geology, studying the structure earth's crust, the location of its elements (geol.)".
The Literary Encyclopedic Dictionary tells us that architectonics is “the external construction of a literary structure as a single whole, the relationship and correlation of its main parts and elements.”
“The concept of A. includes both external structure works, such as 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, one or another sequence of events (temporal or in violation of the chronological principle), introduction to the narrative fabric various descriptions, author's reasoning and lyrical digressions, grouping characters etc.”
In the scientific community, the concept of architectonics is opposed to composition or is considered part of it. As noted by M.S. Kagan in “The Mythology of Art”, “the advantages of this term are that, firstly, it reveals the underlying formative principle, the structural dominant artistic language- aesthetically significant ratio of plastic elements from which it is built artistic image" This principle of form organization as architectonics has greater universality compared to the principle of composition, since, “in addition to composition, it expresses the multidimensional structure of the work, emphasizes the complexity and multi-level structure of the form of an object, be it flat or three-dimensional.”
Thus, we deliberately separate the concepts of composition and architectonics in the context of our research. While the composition focuses on the very structure of the work and reveals artistic function technique or element, architectonics focuses on the interrelations of structural elements and is the formal and technical side of a multi-level work.
What structural elements can we identify in the architectonics of a screen work? There are many of them. These are types of conflicts between characters, timing and types of scenes and episodes (dialogue, action, exposition, landscape, etc.), editing and the presence of dramatic transitions between scenes (“cliffhangers”), “attraction” effects and emotional tension of the narrative in in general, the amount of information received by the viewer, all kinds of audiovisual and technique, which we will not dwell on in detail. In this study, we are going to focus our attention on two key elements of architectonics that determine the strength of the impact of a screen work on the audience - dramaturgy and editing. As the cornerstone of the dramatic structure of the work, we will consider the conflicts between the main actors of the work and the so-called. “attraction” effects, which will be discussed below. The main components of editing are the sequence of frames and scenes in a screen work and the connections between them, as well as their duration (timing).
All masters of dramaturgy, as one, in their instructions and textbooks agree that the main driving force Every story has a conflict. The author of the most famous work on the art of screenwriting, R. McKee, in his “Million Dollar Story” writes: “When main character goes beyond the inciting incident, he enters a world where the law of conflict rules. This law says: in history, movement occurs only through conflict.” By conflict, the maestro understands the fundamental difference between the characters in their worldview, motivation, goals and means of achieving them. These differences are so incompatible that they set the mechanism of the whole story in motion and push it forward, just as steam sets in motion the parts of a steam engine. McKee divides conflicts into three large subgroups: internal, interpersonal and external (extrapersonal). This division has long become classic. All three types of conflicts correspond to the main types of plot - arch-plot, mini-plot and anti-plot - influence the genre of the work and form the so-called triangle of history (Fig. 1).
Rice. 1.
An extrapersonal conflict arises when a hero encounters phenomena that are not embodied in a specific person - these are major social upheavals (wars, revolutions), natural disasters (fires, earthquakes), society, circumstances, fate, evil fate. IN pure form we see this type of conflict in epic works(for example, Homer's Iliad and Odyssey).
Interpersonal conflicts occur en masse in the so-called. mini-story. The interests of the hero here collide with the interests of other characters and personalities. It could be family quarrels, conflicts in love and friendship relationships, conflicts between boss and subordinate, and so on. In its pure form, this type of conflict is dictated by a certain genre - melodrama.
Finally we have internal conflict when the hero comes into battle with his “inner demons” - these can be vices, bad memories from childhood, complexes and weaknesses, etc. To one degree or another, internal conflict can be traced in any serious work of art, but there are genres in which internal conflict is brought to the fore, and all other conflicts remain in the shadows or are completely absent. For example, when all the action takes place in the hero's brain, even interpersonal conflicts can be perceived as part of the internal one. Most often, such techniques are used in the so-called auteur cinema (or arthouse).
It is worth noting that this is the most common classification of conflicts, but not the only one. Thus, playwright and script doctor William Indyk divides conflicts according to the principle of their belonging to the main psychotherapeutic teachings of the last century, according to Freud, Jung and other masters of psychoanalysis. He distinguishes neurotic, normative, archetypal, existential and inferiority complex conflict. However, with certain reservations, this classification also fits into McKee's theory.
A similar division is typical for any type of art that is based on text - literature and cinema as well. IN in this case we can even talk about some kind of continuity, because initially the art of cinema developed precisely on the basis of the experience accumulated by literature. Let's say historical novels over time turned into film epics, and romance novels- in melodramas. In his “Cinema Theory” S.I. Freilich dwells on this in detail and quotes the literary critic M. Bakhtin: “The genre is revived and renewed at each new stage in the development of literature and in each individual work of a given genre. This is the life of the genre. Therefore, the archaic that is preserved in the genre is not dead, but eternally alive, that is, the archaic is capable of being renewed. The genre lives in the present, but always remembers its past, its beginning. Genre is a representative of creative memory in process literary development. That is why the genre is able to ensure the unity and continuity of this development. That’s why, to properly understand the genre, it is necessary to go back to its roots.”
We will talk in more detail about this very living archaic and the origins of the genre below, examining specific examples film adaptations of Russian classics. As the same Robert McKee noted, “the choice of genre sets clear boundaries of what is possible, since the structure of the story must take into account the knowledge and expectations of the audience.” And the genre is directly influenced by the type of conflict in the work.
What is composition?
The question of composition in literary criticism is always relevant, because over time and as a result of changes in the main scientific trends in the construction work of art, scientists are constantly rethinking old scientific postulates.
In general, the working definition of the concept “composition” looks something like this: construction literary work regardless of its gender. A composition can combine such constituent semantic parts of a work as images, episodes, or any details.
As for the composition of a work belonging to the first type of literature - epic, here the author, as a rule, is consistent in presenting his thoughts; he describes in detail portraits, interiors, nature, etc. He can also deliberately slow down the action in order to better describe something.
Playing with time and space is also characteristic feature features of the composition. Yes, you can see in prose work descriptions from different time periods. In the novel “Fathers and Sons” by Turgenev, this technique of mixing descriptions from the 40s of the century and the writer’s modernity leads to an enhanced effect of the relevance of the entire novel. After all, Bazarov’s emphasized nihilistic ideas would look “pale” if there were no descriptions of Pavel Petrovich’s life at a young age in the novel. That is, just as two generations are contrasted—young and old—so two time periods are contrasted.
Compositions can be different in their structure. For example, in the works lyrical genres, such as, for example, “Faust” by I.V. Goethe or “Who Lives Well in Rus'” by N.A. Nekrasov can be seen like this structural element, as a prologue and epilogue. These are unique parts that introduce the reader to the problem (prologue) and draw a conclusion about the problem posed in a global sense (epilogue).
Sometimes the compositional elements of a composition are deliberately rearranged by the author. Thus, considering the classic example of the discrepancy between plot and plot in the novel by M.Yu. Lermontov’s “Hero of Our Time”, we can say that due to different writing principles of presentation or presentation of material, the author cannot present events sequentially.
In other scientific sources, such a term as architectonics is now especially actively used, which, of course, does not replace the concept of “composition”, but significantly expands it.
What is Architectonics?
Architectonics is more general concept and is used to evaluate and decipher the whole through analyzing it components. Architectonics as an updated type of characteristic compositional structure, seen in works of foreign literature.
For example, A. Camus in the novel “The Plague” deliberately mixes together the following types of analysis:
- form of storytelling organization
- techniques for creating images,
- features of plot construction,
- artistic space and time,
- compositional techniques.
That is, architectonics considers everything together. Each of the examples given structural organization has an interpenetrating character. Thus, the analysis of architectonics provides great advantages for the analysis of the entire structure of a work of art.
Several interesting essays
- The image and characteristics of Nikolai Stavrogin in the story Demons by Dostoevsky essay
One of the main characters of the work is Nikolai Stavrogin, presented by the writer in the image of a pseudo-hero, stillborn.
Very often Russian writers addressed the issue of “ little man" A.S. Pushkin was no exception, in the work “ Stationmaster» it also focuses the reader's attention on the theme of man
ARCHITECTONICS -i; and. [from Greek architektonikē - building art]. Harmonic connection of parts, their proportionality in a single whole. A. buildings. A. novel. ◁ Architectonic, -aya, -oe. A-th differences. Dictionary Kuznetsova
Such a word as composition is familiar to every person, regardless of his profession and hobbies. It is found in painting, music, sculpture, interior design and many other areas. But what is architectonics? Is it something more complex, related to a certain type of activity, or is it a completely philosophical concept? Let's figure it out.
Terminology
So, architectonics is just the construction of a work of art. It includes the comparison of parts taking into account their parameters, their harmonious combination, and as a result the formation of a single whole. We end up with a complete and balanced art object that can be part of painting, sculpture, architecture, music, literature... Anything! It turns out that architectonics and composition are almost identical concepts. The difference between them lies only in the word itself. Architectonics is a more professional word, has little distribution among people, and is more often used in narrow circles of creators. Composition is a more popular concept, and upon hearing it, everyone will understand what we are talking about.
Vivid examples
Let's try to look at finished works of art that will allow us to finally understand what architectonics is. These will be paintings, objects of contemporary art and musical works.
So, painting. In order for the picture to be holistic and complete, the author needs to think through its plot. IN leading role the participants in the picture appear - people, animals or nature, or some objects. Then all this is framed in a certain palette - pastel, bright or dark. As a result, we get a holistic work that conveys a certain mood. This works similarly in contemporary art. Art objects are made up of specific shapes, colors and textures. Due to this, the viewer perceives them in a certain way.
Music is a delicate matter
This art is something unique, it has so much different forms and variations and at the same time remains unified. No person can live without music; he chooses his own style or becomes a music lover. But every work, no matter what genre it was written in, is a single composition. For example, classical compositions are always clear forms that have their own framework. They consist of size, tonality, tempo, strokes and shades. All this is combined into parts that form a large form called a rondo, sonata or suite. This is the architectonics of a classic work.
Architectonics of volumetric forms
In this case we are talking about a certain discipline. Its essence is aimed at teaching a person to model volumetric forms from various materials, make them holistic and complete, and then combine them into compositions. Within this discipline, you can work with paper, fabric, clay and many other components. The main thing is to understand how objects that have volume fit into the surrounding space and look laconic in it.
Modern spheres of life
IN lately The concept of business architectonics has become relevant. To explain it, it is enough to turn to the original interpretation of the term and dilute it with the corresponding concepts. The essence of such architectonics is that a business consists of many parts - personnel, coordinated work of management, paperwork, accounting, external relations, atmosphere in the office and much more. All this constitutes, so to speak, the “composition” of any business, no matter in what area it develops. Architectonics is the same for business important aspect, as for art or craft. It shapes any enterprise or firm, makes it holistic, complete and perfect. Properly thought out architectonics is the key to further success and prosperity of any business.
Results
We can say with complete confidence that architectonics is the basis of everything that surrounds us. Art objects are made of it, it is present in music, literature, theater and cinema. The principle of composition integrity is necessary even in modeling, in business, in the work of any enterprise or factory. Without him, nothing will exist, from the nature of the seas and oceans, space and man, to what this man created both in the field of art, science, and in simpler, everyday, but very important matters.