Architectonics of a screen work. The concept of architectonics and tectonics in design
Architectonics - 1) Features of the structure, structure of the verse: poetic meter, compositional development, strophic division, strophic or non-strophic construction, rhythmic pattern, number of feet, verse endings. There are several types of architectonics of verse speech: strophic verse, paired rhyming, free rhyming, continuous rhymeless verse, single stanzas. In this sense, the term “architectonics” is sometimes synonymous with the term “strophic”. 2) The idea of a poem as a whole, including all aesthetic components (structure, composition, visual arts and others, on the one hand, and the personality of the author, his sense of self in art, on the other.
The first definition looks more specific, formal, the second - more general, philosophical. At the same time, they do not contradict each other, but only show the direction of viewing a poetic phenomenon: as something “made”, decomposed into formal components, or as an organic whole, inseparable from the personality of its author.
From the first point of view, V.V. Mayakovsky looked at architectonics, writing in the article “How to make poetry?” about poetic work, the creation of a poem as a consistent conscious and rational selection of rhythmic, phonetic, lexical, syntactic and other units that formally correspond to each other. In his interpretation, poetic creativity resembles construction, in which the first quatrain is first created, then, according to his model, all the others are added up. finally together. We should not forget that such excessive attention to poetic art as “doing” is a tribute to the futuristic aesthetics that Mayakovsky adhered to.
The second approach assumes an existential relationship between the author and his creation. Architectonics is the “body”, the bearer of artistry, which disappears when the poem is destroyed, at least when quoted or retold. In this sense, architectonics is not only a direct projection of the author’s personality into art, but also an act, an act of the author, his aesthetic individual action. Thus, it testifies that art is not just a description and perception (both receptive and perceptual) of being, but also its “stage” (M. Heidegger’s term) production.
Since the time of the Symbolists and their followers, the idea has become stronger in art and science that art is not a reflection of reality, but reality itself, and works are the same facts of existence as phenomena of nature and civilization. In this sense, architectonics is the same as any fact of existence, taken individually, on the one hand, and existence in the general context of other phenomena and events, on the other. It shapes and, thanks to artistic truth, allows us to perceive the implied value center - man and his sense of self in the universe. M. M. Bakhtin believed that the elements of the form and content of a work become components of architectonics only in relation to a person, with artistic time and space.
I. A. Brodsky thought in a similar vein. The poet, developing, improves not only the capabilities of his metrics and rhythm (architectonics in the first meaning), but also the qualities own voice, prosody in general. That is why in most cases the choice of metrical structure of a verse has philosophical meaning: “ideological” poetry of Demyan Bedny, propaganda poems by Mayakovsky or his early poems. “Swan Camp” by M. I. Tsvetaeva and others are all examples of various architectonics that arose thanks to the poet’s unique sense of self in the linguistic, cultural, social and other space in which he exists.
The unity of both approaches can be easily seen in the example of the architectonics of a sonnet. Being one of the “solid forms” that took on the functions of psychological, meditative, philosophical, and intellectual lyrics, the sonnet is characterized by a stable stanza. Fourteen lines, two quatrains and two tercets, an ordered rhyme system (one for each national variety sonnet) are features of its “strophic-syntactic structure”. The same is true for “high demands on the euphonic side [of verse], the quality of rhyme, and vocabulary.”
An example of the same kind is the architectonics of the novel in verse “Eugene Onegin” by A. S. Pushkin. Here, the relationship between the genre nature of the novel and the poem, on the one hand, and the narrative (the story of Onegin and Tatyana) and lyrical (lyrical digressions) principles create a complex structure of the author’s “objective” presence. The author here is both a storyteller, that is, a hero, and a narrator, that is, an outside observer. Accordingly, between these two poles the action unfolds, which is at the same time a version of the author’s internal biography, a biography of the hero and an entire generation, a “panorama” and “encyclopedia” of Russian life.
The concept of "architectonics" (from Greek - construction art) V general view includes unity artistic expression the laws of structure, the relationship between load and support inherent in the structural system. IN 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.
Reflection of the most essential aspects, stable elements of the system, their abstract essence is called structure. Structure in in a certain sense is static, it reflects the morphology, i.e. structure of the system. Structure work of art can be considered in several interrelated aspects - tectonics, composition and expressiveness. Tectonics is the artistic expression of structural patterns inherent in the design of a work, the composition of a round sculpture, three-dimensional works decorative arts; compositional structure of any work of art. Tectonics expresses the peculiarities of the relative arrangement of parts of the whole, the relationship of shapes and proportions. Tectonics is a visible reflection in the form of a structure of the properties of the material, the logic of their work. Through the plasticity of the form, such properties of the structure as strength, stability, balance, direction of movement are expressed, and the relationship of parts is revealed. Clear and logical tectonics ensures the truthfulness of the form, gives a correct idea of the purpose of the object, the features of its manufacturing technology and the properties of the material. The tectonics of static objects or structures differs sharply from the tectonics of dynamic objects. Tectonic systems based on statics and the balance of rest and movement existed until late XIX V. This is explained by the fact that the technical capabilities of society did not go beyond the use of materials and structures operating in compression. The apotheosis of the possibilities of these materials and structures was the Gothic era. The tectonics of modern structures is based on tension equilibrium, tension, and also on a combination of tectonic principles, depending on the functional purpose of the object.
Depending on the structure of the material and the design of architectural works, several tectonic systems are distinguished: monolithic, lattice, frame, shell. The concept of “system” presupposes the presence of elements and a certain structure - patterns on the basis of which the elements are interconnected. The different nature of the functioning of objects of the material environment determined the specificity of their volumetric-spatial organization and tectonics. Monolithic systems are formed from one, often plastic, material, which allows objects to be adapted to the human hand, for example, sets of stackable dishes. Lattice systems and shells are often used in combination with monolithic ones. Frame systems can be formed as monolithic or prefabricated structures from various materials(wood, metal, plastic) represent the basis for organizing volume.
In some cases, the structure and tectonics of industrial forms are more complex than architectural ones. This is due to the fact that industrial products often perform several different functions.
tions. In architecture, which has a decisive influence on the nature of the built environment, three main tectonic systems are distinguished: wall, frame, vaulted. Due to the use of different materials, there can be much more such systems: a post-and-beam system for the interaction of load-bearing and supported elements; cable-stayed - working in tension; shell - using the plastic properties of materials and allowing to obtain significant internal volumes.
The most general principles of the formation of tectonic systems of a suit are the same as those of other environmental objects. Shape formation - structuring (division and construction) of individual objects, creation of functional, constructive, spatial-plastic, technological structures. A suit can be considered as a three-dimensional form, the internal space of which provides comfort for human life. Similarities general principles the shaping of the costume with architecture is expressed in the figurative and associative manifestation of the external form. The definitions “monumental” and “monolithic” costume are often used to emphasize the enlargement of forms and the laconicism of their solution, which is achieved by the use of heavy fabrics in soothing colors and simplicity of design. The nature of the tectonics of the costume is manifested in close connection with the tectonics of the solution of architecture and other objects of the material environment. At the same time, the suit has its own tectonic systems: frame, shell and intermediate, combining the properties of both systems.
The shape of a suit is a complex and multi-level concept. The very concept of “form” can be approached from different positions: it can be considered as a philosophical category, as a symbol, as an object, as a result of activity. In philosophy, the form of an object is considered as a way of existence of an object, internal organization content, that which connects the elements of content together and without which the existence of content is impossible. Shape - morphological and volumetric-spatial structural organization things that arise as a result of meaningful transformation of the material, that is, shaping.
Volumetric-spatial structure is a category of composition that reflects the semantic connection, subordination and interaction of all elements of the form with each other and with space. In a volumetric-spatial composition, the elements are space, volume, and surface. Structural connections include the patterns of constructing a volumetric form, rhythm, symmetry and asymmetry, proportions, contrast, nuance. Depending on the nature of the relationship between volume and space, forms are distinguished: with a hidden, partially hidden and open structure. Many have a hidden structure vehicles: airplanes, locomotives, submarines, etc. An open volumetric-spatial structure has, for example, a bicycle, a chair, a ship's cargo boom. The crane has a partially hidden structure, where a small enclosed operator's cabin is combined with an open truss structure designed to absorb the forces of the load being lifted.
A well-organized volumetric-spatial structure and pronounced tectonics of the product create the prerequisites for the integrity and harmony of the form. Harmony is understood here as an organic relationship, consistency and proportionality of all components of the composition, which has a beneficial aesthetic effect on a person. The harmony of the product is determined by the aesthetics of the composition in close connection with functional, technical and economic issues. Unity of composition is an indispensable condition for the integrity of form. It is based on emphasizing the main idea in the composition, which governs the entire layout of a product or structure. The unity of composition is considered as a means of creating comfortable and aesthetic products with minimal expenditure of material and artistic means. The unity of the composition is manifested in the regular structure of the volumetric-spatial structure and clearly defined tectonics.
The harmonious organization of real material material in three-dimensional space is expressed in the formation of its design, structure and tectonics, in the interrelation of individual parts of the plastic form, in the integrity of the composition. Form and design are inseparable: the design is a carrier of aesthetic information. The shape must correspond to the purpose of the product, the design diagram that determines its structure, and correspond to the material from which the product is made. Ease of use and beautiful form - the most important criteria product composition. The shape and design of the product depend on the material. The design follows the logic of the material, its formative and plastic properties. Many design schemes are directly related to specific materials. At the same time, there are quite universal design schemes that can be made in various materials. However, with the same design scheme, the appearance of the product and its shape will differ significantly depending on the material and its plastic properties.
Achieving a harmonious relationship between the components “function - structure - material - design - form” allows us to qualify the form as tectonic. In architectural form, structural elements are subject to the logic of production technology. Structural elements are not only not masked, but are accentuated and used as structural and decorative elements of the form, emphasizing its expediency and persuasiveness. Tectonics is a visible reflection in the form of a structure of the properties of the material, the logic of their work. Through the plasticity of the form, such properties of the structure as strength, stability, balance, direction of movement are expressed, and the relationship of parts is revealed. Clear and logical tectonics ensures the truthfulness of the form, gives a correct idea of the purpose of the object, the features of its manufacturing technology and the properties of the material. The tectonics of static objects or structures differs sharply from the tectonics of dynamic objects.
The design performs several functions at once, simultaneously providing the necessary stability, rigidity and strength of the product as a whole and its individual elements. In architecture, structures are divided into load-bearing, reflective, rigidity diaphragms, etc. Each of these groups, performing a specific constructive function, has its own typology and is made from the appropriate building materials. At the same time, there is a certain autonomy of structural elements: for the same structural skeleton of a building, an outer shell is selected from various materials, a variety of decor and design solutions for parts are used. Or, conversely, while maintaining the shape and design of the outer shell of the building, they completely change its internal spatial structure and design. This technique is actively used in the reconstruction of valuable historical facades.
Design today is understood not just as a technical means of organizing a form, but, above all, as a functionally and aesthetically functioning component of the form. An original, logically constructed design with carefully executed components has its own artistic value and shapes the expressiveness of the work. Emphatically exposed load-bearing metal structures become a unique decorative element, giving an unusual appearance to the object. So, for example, in Eiffel Tower For the first time, it was possible to achieve the interpenetration of internal and external space. Gustave Eiffel finalized the project of his employees and won a state competition organized in 1886 to build a monument for the World Exhibition in Paris. The Eiffel Tower, built in 1889, turned out to be sensationally light, despite its considerable height - 300 meters. The openwork of the lattice structure of the tower is clearly visible (Fig. 1) and is enhanced in evening time day thanks to the illumination of 300 sodium floodlights mounted on its structure. The tower was used for military purposes during the First World War, and in 1954 television interceptors were installed on it, due to which it grew to 320.75 m.
Thus, aesthetic means are considered as a component of architectonics, These include all means of artistic and compositional harmonization, plastic, color, decor 
op, texture, representing in their totality a specific sign system. Among the most important elements of informativeness and meaningfulness of a form are: imagery of subject forms (as a typological characteristic appearance object and as associativity of visible appearance); compositional-scale structure of the form ( a certain way division of the whole, dimensions and plasticity of individual parts and details); plastic and color; decorative elements. Specific techniques of expressiveness of architectonics: visual-emotional exaggeration and emphasis on the main, typical, signally most valuable; generalization of many details into visual integrity; leveling, restrained aesthetic development in the presentation of the unimportant, secondary, private [Bozhko, 1991].
Everyone has come across the concept of “composition” to one degree or another. And a person associated with art also knows that another thing is closely connected with this concept - architectonics. This is exactly what we will talk about.
Terminology
Architectonics is general construction any work. Close to this term, but narrower in relation to art, is “tectonics” (denotes the visual embodiment of internal structures).
For the concept of composition, architectonics is almost synonymous. Composition is a more common term that is widely used in various fields social life.
But architectonics is more scientific concept, even professional, which is common among art critics and creators.
The word comes from two ancient Greek “archi” (chief) and “tektos” (to build). Literally means "basic dispensation."
This concept denotes the basic principle of construction and the system of connections between individual parts of the composition of an artistic whole.
In architecture, architectonics is the most important property of the overall compositional structure. It is this that forms the main impression of the object being contemplated. It also expresses the idea, the main idea, through the integrity of the image.
Architectonics in art
The concept of architectonics has the same meaning in such forms of art as painting, literature, sculpture, and graphics. In music there is even the concept of architectural hearing (the ability to appreciate the beauty of music by ear).
Painting. To achieve the integrity and completeness of the picture, the author thinks through its plot, the participants of which are most often animals, people, nature or some objects. The end result is a work that conveys a certain mood.
Thus, objects are composed of a specific color, texture and shape.
Music is something unique, it is so diverse, but at the same time unified. Each person chooses his own musical style, your direction. But every musical composition- there is a composition that is built on strokes, shades, tempo, size and tonality. All this is combined into parts that create a certain form (variations, fugue, sonata and others). This is called the architectonics of a classical work.
Architectonics in literature
In literature, the concept connects the relationship of parts of a work of art, the arrangement of its components, which together form a single whole. It includes two components: external structure and plot (chapters, type of storytelling, sequence of events, lyrical digression, author's reasoning, etc.).
Architectural techniques are one of the elements of style and are socially conditioned along with it. Therefore they may change. Let's take, for example, the novels of Turgenev and Dostoevsky. In the first case, events are presented sequentially, the narrative is smooth, and the landscape plays an important role. In another case, the opposite is true. The narration is fast, the presentation of events begins from the middle, parts of the literary work are disproportionate.
It should be noted that architectural techniques within the same style may vary depending on the genre (novel, poem, story, story, poem), each of which has its own characteristics and composition.
Volumetric forms
Architectonics of volumetric forms is an academic discipline. Her main goal is to teach a person to form three-dimensional shapes from various materials. There is a condition: they must be whole and complete. Later they are combined into a composition. Within this academic discipline, a person works with fabric, paper, as well as clay and other materials. The main thing in this matter is to understand how three-dimensional objects look in space.
Thus, architectonics is an important component environment. It is everywhere: in music, cinema, literature, painting and even, if you think about it, in nature. It is also needed in modeling business, and in design. We come across the concept of composition back in school, creating masterpieces on a sheet of paper or using children's musical instruments.
Thanks to the principle of composition integrity, the nature of the oceans, humans, and space exists. Thanks to him, man has embodied many creations in science, art and everyday life that we can observe.
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, associated with 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 in this case we're talking about about some kind of discipline. Its essence is aimed at teaching a person to model three-dimensional 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 as important an aspect for business as it is 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. Objects of art 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.
The concept " architectonics» ( from Greek – construction art) in general includes the unity of artistic expression of the laws of structure, the ratio 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 book " Architectural design» V.N. Tkacheva
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 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 the product (since it is the tectonic image that is the most important tool 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 object 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 shape-formation strategies (according to Yu.V. Nazarov): “expressive” (demonstration of the principles of distribution of functional loads, structural or technological device) and “figurative” (including “imitation” of other active tectonic structures, “camouflage” - an illusory, decorative reproduction of them, “stylization” - reproduction of common cultural examples of a given class of products). But if the first group of strategies is considered leading in design, then the second, for a long time which was under fire from criticism, is only just gaining the right to official recognition, which is largely due to the development of new directions in design formation [art design, freestyle, etc.).
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 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 it can be called following types That is: frame, shell, monolith, lattice system and, finally, special shape- "tectonics" soft materials"(clothes, 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 of the acting forces, the 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 endless: 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 the environment they have tectonic properties, according to at least, three systems of its components: structural-spatial (architectural), spatial organization of equipment elements (design) and the combination of their joint work 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.
