Radekan Astronomical Tower is a unique building of the medieval architecture of Iran. Astronomical knowledge in the architecture of ancient Tashkent classification of firewalls

The relevance of research

In today's age of globalization, a century of the existence of a complex multifaceted space, the question is, the question is: in which direction further develop architecture, what are the ways to develop it? To answer this question, it is necessary to understand the internal logic and internal meanings of the formation of architectural space. In order to comprehend the patterns of modern architecture, it is necessary to contact an ancient architecture, because the understanding of its internal logic and meaning leads to an understanding of modern architecture and allows you to predict its future development and manage it. To understand modern architecture, it is necessary to understand the factors and features affecting its formation.

Archaic ideas about the universe, which many thousands of years determined the development of architecture and culture as a whole, largely determine this development and so on. In fact, modern mankind has not been completely removed from nature, settling in major cities. At the universal level, we are still close enough to an ancient person to try to understand his aspirations, ideas, motivation expressed in the works of culture and architecture, in particular. However, the continuous development of humanity makes it look at the laws of formation through the prism of time.

From the very beginning of architecture, any construction - whether it is a central post area for rituals, or, for example, ancient Egyptian buildings, the perfect space of the temple or necropolis, was thought of as an earthly reflection of the cosmic order. The basis of any organized settlement is a human desire to create space, as opposed to chaos of a natural environment. The architectural space is a universe model in the form in which it is perceived by a person in a certain culture, but the architecture is everywhere - this is the intersection of the world of physical and metaphysical. In its path from antiquity to modern times, the architectural space has undergone significant changes. The archaic city is a spatially calendar text that reflects the structure of the world. At each stage of its development, the architectural or urban planning facility absorbs the features of the socio-cultural reality in which it is reproduced. Often, the object carries not a fragment of reality, but a picture of the new world for the era in which it is implemented. In the modern world, the spherical organization of the three-dimensional space around the central position in it in it is partly combined with virtual flowing and transformable spaces, since the centers displacement, the erosion of the boundaries changes, the distance perception due to the increase in speeds. However, at all times, the architecture contained and contains irreversive meanings, the knowledge accumulated and generated by the person. One of the fundamental knowledge is knowledge of the creation, about the device of the world. Over the centuries, the architecture of the iconic symbolic means is coming to man to man its ideological meaning, makes it possible to understand the inexhaustible phenomenological manifold of the world. In this study, an attempt is made using the semiotic basics of cosmogony and cosmology to cringe into the essence of architecture: to find archaic and universal meanings in it, universal ideas, understand the vision of the world, which unconsciously and deliberately led the creative impulse of the architecture. Consideration of architecture from such a position leads to an understanding of the internal logic of the development of architectural form and architectural space, an understanding of the process of their origin, formation and continuous development.

Creating a special form or space, the architect reproduces the world-co-cultural reality in it, which is characteristic of its surrounding socio-cultural reality. In turn, the content of architectural form and space relays itself in the image and symbols present in the structure of the structure, on the facades, in various architectural elements. In addition, the content is often designed and involved in individual architectural monuments: on the inner surface of the dome or ceiling, on the walls, floors and manifests itself in the very space, say the temple, in the form of new architectonic, visual, symbolic forms.

The first facilities are the buildings of the iconic, sacred architecture. Plan and form of any sacred building from the first buildings and further: church, mosque, temple of the Divine, etc. Reproduce cosmic heavenly order. The dome is always a heavenly arch. Icon, Mihrab or Mandala symbolize the eternal light, in which the man's soul is reflected in his spiritual ascent to the Divine Light.

The feature and universality of architecture consist in the fact that it separates culture from nature and combines time and space (see Appendix 1, Fig.3).

The presentations of the time can be formulated as follows: on the one hand, the time is cyclically - it constantly begins, but on the other hand, it is infinite, as well as the future, thus, the time is inseparable unity. In architecture, time is not linearly printed in the continuation, but discretely - in moments clothed in the form.

Being at the junction of such categories and the most important forms of being, as space and time, the architecture depicts history that attaches eternity. At the same time, architecture is a frozen moment of time, time now, in which the past bears the future through the chronological present. The time is "transferred" to the stone, representing the finished product of human activity. If the story has a variable and unstable rhythm, the tradition, on the contrary, seems to be the only and unchangeable. Thus, in the architecture, history and tradition is certainly present, entering into an alliance with technical capabilities (see Appendix 1, Fig.2).

Architecture is the life of the form in matter. The reflection of the ideal model of "World Mountain" in the form of mandala, pyramids, churches, an altar-altar and any cult architectural structure is present everywhere. These are fundamental elements of sacred knowledge, means of transmitting meanings reflecting the structural framework of the spatial picture of the world. They are custodians and broadcasters of fundamental human knowledge, energy clot, and they are embodied in perfect geometric forms. In the architectural product at the intersection of a religious feeling and material ideal, a technical phenomenon occurs, which is the mechanism of deploying a space drama on Earth.

Divine pyramids and golden pagodas, temples and rings of Cromlekhs, huge dome and beautiful churches, - in a word, all that is astronomically and symbolically integral, all that the center has and emanating from it - all this expression of the cosmic order and his mythopoetic trail .

The real works of architecture, which can rightly be called miracles of light, are carriers of integrity and infinity. Sacred buildings, from which, in essence, the whole architecture occurs, is the mediators between man and space, sky and earth. They enclosed the magic of a circle and square, and they carry the infinity of time. We can say that space is a form of time, as well as time is a form of space. At this intersection, a cult structure, filled with a symbolic meaning passing through time and space, is nothing more than Imago Mundi-image of the world. The mystery of the geometric form - the architectural instrument originates in the "spatial" cycle of time and in the rhythm of the expanding space. Sacred architecture is generated by space and time.

Since the architecture contains in itself and broadcasts some sense, it is necessary to find semiotic mechanisms that allow you to decipher the messages. The study of the semiotic aspects of cosmogony and cosmology, the formation of the architecture since its appearance, allows you to identify certain patterns, respectively understand the significance of hidden in the form.

The knowledge of the world systematized over the past few centuries in scientific discoveries - the laws of nature, there are many millennium in human culture. They are always, from the very appearance of a person on Earth, harmoniously entered his holistic worldview and as conscious or unconscious ideas were formed in his work, in particular, spatial. And today traces of the oldest ideas about the universe can be found in buildings of any human settlement. The disclosure of the principles based on the cosmic harmony, allowing to create harmonious architecture at different times from antiquity to modernity, will allow architects to take them into account when forming space. Analyze the universal vision of the world and reproduce it in architecture only at the intersection of various areas of knowledge, since this aspect is very multifaceted and ambiguous.

Thus, the theme of work is at the junction of several sciences: cosmogony, cosmology, philosophy, architectures, semiotics, mythology, cultural studies. Previously, scientists considered the problems of semantics, cosmogony and architecture cosmology, but these studies concerned a certain time interval, and was carried out, as a rule, in some of the following areas, respectively, had one approach, or descriptive, or historical or cultural. At each new twist of its development, culture and architecture, in particular, are sent to the images already created and ideas. Perhaps today there was a need for a new holistic, logical explanation of the idea of \u200b\u200bthe world. One method can be a study of architecture, its contents and expressions encrypted in cosmological and cosmogonic symbolism. This was one of the reasons for the presented dissertation study, where we turned to architectural monuments to trace the presence of the foundations of the universe in their structure and individual elements, while tracing in the chronological sequence from the origin of architecture until today and analyze the logic and meaning, Principles and methods for the formation of architectural space, their significance and influence on the architecture of the future.

The scientific and theoretical basis of the study is the sources of domestic and foreign scientists, among which the first block can be attributed to research on the theory of architecture and semiotics of space. Among them, the works of A.A. Barabanova, E. Dalfo, Ch. Janks, I. Dobritsyna, E. Zheleva-Martins, V.I. Iovlev, D. King, E.N. Prince, S. Kramrish, A. Lagopulos, A. Levy, Yu.M. Lotman, N.L. Pavlova, A. Snodgrassa, D. Samsa, M.O. Surina, S.A. Matveyeva, S.M. Neapolitan, J. Fresher, L.F. Chertov and other researchers.

In these literary sources, specific spatial means of sense-formation and seduction are considered, semiotic patterns of communication of the form with their meanings and content are established, semiotics of space is examined in various aspects. In the works of A. A. Barabanov, the basics of a semiotic language in architecture also consider the semiotic importance of various architectural images in various aspects, in particular in cosmological and cosmogonical, semiotic formation problems are investigated in architecture. Work A. Lagopoulos is visited by the semiotics of urbanism of ancient cultures. The author considers the history of urbanism, exploring the form of the organization of pre-industrial societies in it. The studies of A. Zalopoulos are determined by the specificity of the historical semiotics of space: the relationship between meant and meaning, feature or equivalent symbolism, its versatility or interchangeability. In the works of A. Snodgrass, N. L. Pavlova, E. Zheleva-Martins examined an ancient architecture, the patterns of its origin, the process of the appearance of architectural form from the space, the internal logic of architecture and meanings initially laid in the works of architecture, also examples often unconscious representations of humanity On integrity, about the harmonious universe, embodied in architecture. In general, the work of all authors attributed to this block is aimed at establishing general laws of communication with their meaning.

The second block of research is the work on mythology, cultural studies, art historian A. Andreva, E. V. Barkova, V. Bauer, L. G. Berger, T. Borchand, R. Bewwel, G. D. Gacheva, S. Golovin, B. DzEvi, I. Doymotts, A. V. Zhokova, S. Kramrisha, V. M. Roshal, S. A. Tokareva, Hancock, M. Elyad, etc. All of them are meaningful for this study, since . Associated with semiotics of space in various aspects: architectural and historical, socio-cultural, literary, art historical scientific.

In addition, articles from the intercoucts, conference materials and congresses dedicated to architecture and semiotics of architecture are used.

Hypothesis research. It is assumed that architecture is a reflection of the cosmic order on Earth. In the first works of architecture, a person unconsciously embodied the idea of \u200b\u200ba holistic harmonious universe. Of these unconscious ideas and initial meanings, all further architecture was generated. In architecture (from antiquity and to this day), human ideas about the universe, which the Millennies determined the development of architecture and culture as a whole.

The object of the study is the architectural space and form. Architecture, being at the junction of the most important forms of extension and time, is an earthly reflection of the cosmic order. The architecture examines through the prism of time and space, being filled with symbolic values \u200b\u200band representing the image of the world - Imago Mundi.

The subject of the study is the semantic formative content of the architecture, based on the disclosure of cosmological and semiotic concepts, through which the picture of the world's picture is broadcast in space and time. Cosmological, cosmogonic, semantic patterns in the constantly developing system of formation in architecture are also investigated.

The purpose of the study is to identify the cosmological patterns and the principles of formation of space and form, the disclosure of the meanings of the architecture reflecting the representation of a person about the universe. Detection of the fact of the presence and role of cosmology and cosmogony in architecture and urbanism.

In accordance with the purpose of the work, the following tasks were made and resolved:

1. Consider the semantics of cosmogonic and cosmological processes in the world modeling system in architecture and urban planning;

2. Show architecture location in the context of all symbols of culture, and identify their coinciding values;

3. establish the fact of community and the relationship between the internal logic of architecture and the principles of its formation;

4. Consider the principles of architectural symbols, to determine their connection with the physical movements of astronomical bodies and with the creative universal principles on Earth. Use it as a toolkit in all further work;

5. Consider the concepts of "Macrocosm" and "Microcosm" in relation to architecture;

6. To identify the impact of globalization on the architecture and consider the cosmological path of architecture to today and on the basis of this show the phenomenon of the architecture of the new millennium;

7. Consider a change in architecture under the influence of a new paradigm in science that appeared at the end of the 20th century, against the background of the appearance of the "new integrity" idea, and establish the principles for the formation of a new space.

Scientific novelty research:

1. For the first time, the principles and processes of development of architectural space immediately in several aspects: cosmogonic, cosmological, semiotic.

2. The principles of architectural symbols are compared with the movements of astronomical bodies and the space principles of architectural formation.

3. The patterns and meaning of architectural space and form are established through the analysis and detection of the internal logic of the archaic architecture and the submissions of the universe concluded in it.

4. Based on the comprehensive analysis, the principles and processes of the development of architectural forms and spaces from the point of view of cosmogony and cosmology from birth to the present day are summarized and compared. The appearance of new integrity in the architecture is noted, where architecture is considered as a synergistic system developing according to cosmological principles.

5. A new concept has been introduced with regard to modern architecture -notomogenic architecture and its typology is proposed.

6. A model has been created that reflects the development of architecture under the influence of external processes from the point of view of cosmology and cosmogony. The model brings to forecasting the future development of architecture through a structural analysis of its past.

The methodology for the study of architectural space is based on a comprehensive analysis of literary sources, as well as on the development of copyright models of understanding architectural space; Thus, a new independent technique is produced.

Various methods are attracted to the analysis of cosmology and cosmogony of architectural space: various methods are attracted:

Method of systematization and generalization of literary sources;

Historical and genetic analysis of architecture;

Semiotic method - search for information, signs, meanings, prisoners and expressed in architecture;

Methods of cosmologicism and cosmology based on the search for symbolic mechanisms and patterns displaying the structural framework of the spatial picture of the world (World Mountain, World Axis, World Tree), and their projective imposition of architectural monuments;

Methods from philosophicals based on the establishment of astronomical, symbolic, cultural and other relations between concepts, images, epochs that are affected in this study;

Grafanalytic method - drawing up diagrams and tables based on analyzed material;

The modeling method is the development of semiotic, analytical, prognostic models according to the results of the study

Research borders. Cosmogonia and cosmology in architecture at various stages of development are investigated. Accordingly, periods in which the manifestation of the principles of cosmology and cosmogony in architecture were the most significant for subsequent generations and, of course, the most modern period is the beginning of the third millennium. The sacred architecture of antiquity is considered: Egypt, India, Cambodia, the countries of the Middle East, Antique Greece and Rome; The cult architecture of the Middle Ages of the three world religions - Buddhism, Christianity and Islam, respectively - in India, Europe, in the Middle East. Also considered architecture from the origin to the present world around the world, including Europe, America, Russia. The newest architecture is considered everywhere: in Asia, America, Europe.

The practical significance of the study is that on the basis of methods and types of organization of architectural space based on cosmological and cosmogonical principles, the theoretical base for the forecast of the development of architecture is revealed: various approaches at the junction of science contribute to a deeper analysis of the multifaceted picture of the world, which makes it more accurate Determine in it the value and place of architecture today. This base can be applied as part of scientific research in this direction. The principles of architectural formation presented in the systematic form, based on cosmological and cosmogonical traditions and approaches, can be taken into account in architectural design.

The main results are taken into account in the research topic of the "semiotics of architectural space" developed at the department of the foundations of architectural design in accordance with the subject of the Intro Outdoor Plan of the Nir of the Ural State Architectural and Art Academy. The results of the work are used in real design when creating a sign of Europe-Asia, mounted on the border of parts of light, at the 17th kilometer of the Moscow Tract in the surroundings of the city of K.kratourgburg.

The defense takes place:

1. Comparison of the principles of architectural symbolism with the principles of movement of astronomical bodies, astronomical and temporary symbolism in world culture.

2. Systematization of the principles of architectural cosmogonium and cosmology with the identification of the general and special symbolism in the cosmological structure, the geometric structure of architecture, the orientation of structures relative to the parties to the light, in the content plan codes.

3. The structure of the expression plan and the content plan in the symbolism of architectural structures and their elements with decoding the main semiotic codes.

4. New directions of modern architecture arising from the expansion of the spectrum of the principles of formation in architecture and a deeper understanding of the genesis of architectural form

5. The theoretical model of architecture transformation reflecting the process of development of architecture when interacting and under the influence of its cosmogenic properties of various processes, among which the fundamental are technogenic and anthropomorphic.

Approbation of work. At the main provisions of the study, the author were made by reports: 2003 - at the International Colloquium AISE in the city of Urbino (Italy), 2003 - at the XXXI International Colloquium AISS in Castiglioncello (Italy), 2004 - at the International Congress "Architecture 3000" in Barcelona city (Spain), 2004 - at the International Congress AISE "Peace Signs. Intertextuality and globalization »In Nion (France). The study made it possible to develop a number of architectural projects using cosmogonical and cosmological approaches, including the "social and cultural complex on the border of Europe-Asia", a reduced copy of which in the form of a memorial sign was established in 2004 on the border of two continents: Europe and Asia near Yekaterinburg.

Structure of work.

Main results and conclusions of research

In the work carried out on the basis of the study of the semiotic aspects of cosmogonia and cosmology, the most as the basis of architecture, certain patterns were revealed, which reveal the phenomenon of harmonious architecture at different times from antiquity to modern times.

In the course of the study, the basic principles and concepts associated with the architectural and space-temporal symbolism are given, its own graphic symbolic series is proposed. The principles of movement of astronomical bodies are compared with the principles of formation of architecture from the moment of its origin. It has been established that the principles of architectural symbolics are based on astronomical and temporary symbolism. It was revealed that all major symbolic configurations are combined by the concept of a geometric center, as well as the fact that any astral and temporary symbolism in architecture is based on identifying the center of the building and the center of rotation of the celestial bodies and their both with the center of existence that coincides with the source of time. As the fundamental principles of architectural symbolism, the following are allocated: the center as the beginning of any time and space, the center of any architectural structure as an analogue of the Heavenly Center, the Sun, the Polar Star; vertical axis as a relationship of space trendy; space and time as the form of the diversity of the world, symbolically pronounced by the square and circle, base and dome, respectively, and expressing the association of the Earth and the sky, substance and essence; A spatial cross as a symbol of the origin of a space from a single start, depicting the four-part cycle of the day, years, whose additional units can symbolize solar and lunar cycles transferred to the building by proportional to the relationship.

The paper identified the main semiotic mechanisms, with the use of which, the idea of \u200b\u200bthe spatial picture of the world was associated, the relationship of cosmogony and cosmology with architecture is shown. It is further shown that from ancient times, a man-made form, whether it is a building or settlement, is, firstly, the physical chart of the movement of the sun and stars, and secondly, is the expression of the principles of cosmic order on Earth.

Based on the analysis of semiotic principles and their use in architecture, we note that cosmogonium is a model of architecture, and any architectural form is determined by the availability of the center, since the origin of the created form from the center is identified with the origin of the world. Playing cosmogonia in architecture is the creation of the world in the microcosm, the playback of space and time at one point. Cosmogony is present both in terms of building and in a three-dimensional model of space. Playing the metaphysical space and transcendental time takes the beginning at one point - the boupe of the Earth, the world axis, the center of the structure.

Based on a detailed analysis of the cult facilities of the Middle East, India, Egypt, Cambodia, Ancient Greece, Rome, Middle Ages and Russia, the basic principles of architectural cosmogony and cosmology were identified, and the author's symbolism of the main archetypes of the world modeling was proposed. The basic principles and trends were systematized graphically with the detection of general and special in symbols, geometric structure and architecture contours; orientation of architectural and urban structures relative to the parties of the world; In codes of the content plan, reflecting the symbolic importance of architectural elements of structures.

During the consideration of the concepts of "Macrocosm" and "Microcosm" in the architecture, it was shown that the cult architectural structure, for example, the temple displays in the symbolic form of the union on the macrocosmic plan and the human body on the microcosmic plan. A person seeks to organize the space around himself on the basis of the Universal Creative Principles, to set himself into a resonance with the laws of nature.

The fact that the appearance of a complex phenomenon called Globalization, a change in the scientific paradigm, powerful scientific and technical progress, the introduction of digital technologies, the emergence of a new spatial-temporal relationship in the consciousness of modern humanity led to the emergence of a new architecture characterized by a new integrity principle. New people's ideas about nature and the universe create not only a new architecture, but also form its new genesis. In the new conditions, architectural modeling obeys the idea of \u200b\u200bself-organization of the evolving system, as a result of which the architecture becomes a synergistic system. Despite this, the basic principles: the presence of the center, the orientation of the lights of the light, the release of the vertical, is definitely present in the architecture, but in view of the greater complexity of architectural forms is modified by the relationship between the meaning, sign and meaning. For the new architecture, the architecture of the new millennium, based on the principles of cosmogonia and cosmology, a new term is introduced - "Neo-winding architecture".

Based on the identified tendencies of the use of the principles of cosmogony and cosmology, a theoretical model of the transformation of architecture has been created, reflecting the process of the development of architecture when interacting and influenced by the cosmogenic properties of various processes. Among the concomitant processes, the fundamental are technogenic, which has a scientific and technical basis, and anthropomorphic, based on the understanding of nature and itself as part of nature; At the present stage, the synchronization process arising with the advent of globalization, digital technologies, artificial intelligence appears and becomes very significant. The model shows how processes affecting the architecture are compacted over time, and under their influence, the architecture varies from cosmogonic to the neoposogenic. The model can be used as a prognostic model for the development of architecture.

The principles of the appearance of a new architecture are formulated and systematized. The typology of neoposogenic architecture, consisting of six typological groups, is proposed. The process of transition of cosmology in neoposology is displayed, whose fundamental principle is self-organization. The paths of modern architecture are shown from simplicity to complexity, and then, to a new complex heterogeneous integrity based on a paradigm, which explains the evolution of the universe on the "alloy of differences" into a single organism, as well as at the symbiosis of structures in architecture and urbanism by synchronizing their pace of life. A theoretical base for the preparation of forecasts for the development of architecture based on the internal sense-forming content of architecture based on cosmogonical and cosmological principles is formed. A comprehensive approach to the study of future architecture through a structural analysis of its past has been developed.

As the prospect of the development of the dissertation research presented, is that the understanding of the laws of cosmology and cosmogony leads to the knowledge of the hidden meanings encrypted in space, and their competent use becomes the basis for solving many tasks of architecture and urbanstics to create the best conditions of life on Earth Space Parts - Man.

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Preface

Essential knowledge of the universe play a key role in architecture. As the universe was created by structuring and forming the space of the world and the architecture is similar in its essence the process of imparting a human structure and forms. The transfer to earthly solid, the fundamental principles of the creation of space are transformed according to the conditions of our reality and determine the main ideas of the creation in architecture, turning it into art.

The material culture of the peoples, their worldview and mentality, the ideology of the factual power, as well as the customer's desire impose their imprint on architecture, predetermining the external diversity and abundance of nuances. But the main images and basic forms are determined by the essential aspects of the world, the main principles of cosmic creation. This understanding will take away from a different point of view both on the art of architecture and the ideas expressed by him and the process of creativity in it.

So far, not a single branch of knowledge can comprehensively describe the foundations of the entire universe. Religion says nothing about the physics of the world. Science is silent about the meaning and purpose of the appearance of the universe. And the fact that I saw in the depths of other worlds yoga is still not an ordinary person or natural science. As a result, knowledge of the essence and sense of being, the creative and energy skills of the person, the mind of the person and the whole thing is scattered on the crumbs in different storage facilities, including the indecent, knowledge and experience.

All knowledge is in one way or another are limited by dogmatism, ideology, level of development of society and other subjective factors. Only the correct synthesis of scientific and indecent knowledge will allow us to identify the main ideas of building the universe, the principles of formation and structuring the matter and space of space. Their awareness will highlight the worldview aspects of architectural creativity as an activity reflecting in human architecture process of the creation and being of the world.

Architecture as art

The universe is created by making the initial matter structure and form. With the birth of space, as an accompaniment of creation, the sound arose. The reflection of this divine art of the creation of the world, on another level and on a different scale, became architecture and music in human activity. Forming and structuring of human space is the essence of architecture as a type of activity. In the art of architecture is only a tool for creating an artistic image.

The image that is not in contact with the artistic images of other arts. Sculpture and painting, theater and literature can be considered internal, human arts. These are humanistic arts in the literal sense of the word - they are about a person and his relationship, aimed at him and reflect the ethical and aesthetic perception of themselves. We touch the architecture and music to something more than we ourselves, external, cosmic, some kind of depths of all things.

The photos of the Hubble Space Telescope showed the magnificence of the world of stars inaccessible from the ground, having acquainted with which it is no longer possible to remain indifferent. Unimaginable depth of the universe, ringing emptiness of space with a quiet melody of the universe - to feel all this we can only indirectly, with their artistic perception. To cover the whole world and all the abyss of the cosmos with their awareness - unfortunately goes beyond our capabilities.

Formation of the planet's forces is much more visible and gives such a visual tectonics of efforts that the feeling of the titanic power of the Earth, the ocean, the immensity of the width and the heights of the Aer can suppress a person. The visible scales of the manifestations of these natural elements are not comparable to us, people are only guests within their limits and involuntary witnesses of their creations. And it's not by chance that the ancient Greeks, the elements (titans) are the first, wild and inhuman gods, creating the world itself.

Architecture, creating forms of a person's consonant scale, produces other proportionality of the forms of space with a person, compared with the works of nature or space. Despite the smaller scale, the semantic load of architectural images can be even more comprehensive and deep. As the art of creation form, the architecture is fundamentally symbolic.

In this, it is echoing with monumental art, where techniques and forms of architecture are actively used, to give a figurative completion and essential significance of their creations. In its highest manifestations and images devoid of any utility and practice, the architecture itself becomes the monumental fine art of the creation and being of the entire universe.

Architecture and music as external arts have an incredit value in eternity, while maintaining their relevance until the world exists. As the evolution of the mind in the universe and not only human, humanistic and all other aspects of the relationship between any embodied consciousness can be filled, and internal arts will stop and cease. But not music and architecture, as the means of artistic expression of the foundations of the universe and being of the world.

The architecture becomes an art when rises to an artistic understanding and a figurative expression of ideas about the basic principles and ideas of the world order, about the place of man in this world and its suicalities of the universe. The art of architecture is the aspect of the formation of the world and its creation, which is directly addressed to the person, his mind and feelings, and is associated with it.

Any architectural activities, regardless of the will and consciousness of the Soviet itself, there is a similarity of the actions of the Creator and his hierarchies on the creation of the world and the creation of material forms of all things. And the more the principles and ideas of the world order personifies the work, the more voluminous and deep, multifaceted and significant in the artistic sense, the created image is obtained.

The figurative expression of the principles of building peace may not be realized. But necessarily perceived at the subconscious level, creating an emotional empathy of the emerging depth of creation. The use, the more conscious, various principles of the world order and the means of their artistic expression, leads to the fact that the architectural image can change both its meaning, significance and depth and the degree of impact on human perception.

Cosmogony

Once in the debris of the virgin landscape, the city dweller begins to feel all the dissimilarity of the reality of nature on the artificial world of the streets of the hometown and the cozy atmosphere of the apartment. Space is also our cozy city in a very much universe. Only only renovated from our usual objective world of objects perceived as a certain unchanged dance, we can consider the issues of cosmogony, which represents a certain psychological complexity.

The creation is exposed to the basic principles of the existence of the universe and the formation of structures that allow generation in it. They also determine the direction of the development of consciousness and life in the whole universe. In Indian philosophy there is a well-developed idea, as and what principles determine the process of creating peace. If you discard the religious and epochal aspects of these knowledge and use the current scientific understanding, then the next picture is formed.

Before the start of all times and worlds, in the state of chaos, the lack of any structure and being, one is at rest - in non-existence. It is typical matter, in the form of the "fine" part of its part - clean energy. Rationality is an integral original property of every matter. The intelligence of the whole, boring the existing rulenery forms the primary consciousness. Reasonable rule-matter (energy) with a single and comprehensive consciousness is one, absolute.

The fundamental for any consciousness is the desire for self-awareness, which does not allow a hazing existence. In non-existence - in the absence of any activity and structure, in a state of absolute rest - it is simply nothing to be aware. The desire for self-awareness encourages the united intention to create something - the structure in which there are processes, being, life is what it will be fully manifested, active and can act. We call this world.

For the creation of the world, one of the passive non-existence goes into active being by the separation of part of its energy to opposite states: Rajas (dynamics) and Tamas (Static). When the states of mobility and inertness in the energy appear, interaction is born between them, seeking to compensate for the resulting separation of matter and return the former, holistic state. The separate existence of Rajas (Yang) or Tamas (Yin) is impossible - they are born by dividing one.

Two energy status principles arise: movement and non-movement. The appearance of the principle of movement makes it possible to occur in the processes of changes in matter - the energy of a single in the state of rajas creates the possibility of existence of being as such by generating all its processes and time itself. The principle of non-motion allows to concentrate energy, thickening it to the field shape of matter and substance - the energy of one in the state of Tamas creates the possibility of all the materiality of the world and any objects from it.

This is constantly supported by a single energy separation, there is sattva (harmony) or Tha-Ji - a state of balanced interaction of opposites. The existence of sattva, as the state of harmonious separation of the energy of the single, allows you to structure matter. Structuring makes it possible to give matter form: create space, and from it and in it all variety of things. Sattva allows you to generate the entire world of being, which exists until there is sattva, as the energy of creation. So chaos becomes space.

The energy of the unit is the basis of all things. Beginning - the principles of the state of energy - Tkut all the matter of the universe, their continuous action is going on peace and being. Sattva, revealing all the energy of the world, generates space - the source of all materiality. And Tamas and Rajas with its interaction from it forming the universe. This action began in the creation of the entire diversity of the materiality of the world are carried out by elements and their elements - the principles of creating dense matter.

The coating energy of Satva, Tamas allows you to create all forms of materiality, up to a substance, generating importable. The formation of the whole manifold of the identified matter of the universe, the entire spectrum of materiality determines the elements of the world. As the idea of \u200b\u200bstructuring and the state of the identified matter of the world, the element is the aspect of the energy of one. Elements of the world Five: Ether, Air, Fire, Water, Earth - It is they who determine the variety of states of matter of all being.

Unified source of the universe. His essence is pure energy, the thinnest part of the matter. From thin to dense and everything is formed: smoothly moving away from the weightless subtleties of the pure energy of chaos, through the energy saturation of the matter of metaeadic, astral and essential fields, up to the dense structure of the substance of the universe. This world acquires a multi-layered, multi-level structure of the organization of manifested matter - parallel worlds arise, Being plans.

In these parallel floors of the universe and there are all objects and creatures of the world. Similarly, they are formed from thin to the dense. Following one and manifesting consistently in every place of being, they are formed from the matter of each parallel world. And when the real object of the cosmos appears in the end, it retains the entire garland of previous (on thinner levels of being) of its manifestations (tel), forming, for example, in a person, the so-called aura.

Such structuring of matter leads to the fact that the substance exists only in the Universe, as the most dense world. In the remaining thin, higher plans of the material of matter, there is only in the form of energy fields. And accordingly, the object can only act in the world where he has his "body", where it is materially represented (without having a body from the substance no spirit, mind, consciousness cannot physically act in our world).

The created structure allows consciousness to be embodied in various objects of these worlds. This occurs in the form of a set of "separate", individualized parts embodied in the form of consciousness as reasonable creatures, and in the form of a mind (among other and consciousness) of all material objects. The mind of the Unified appears the opportunity to go through all possible ways to develop its evolution. And thereby realizing the very variety of its existence and interaction in the world.

Self-awareness of the forms manifested more effectively begin in dense worlds, where the limitation of the dynamism of matter and freedom of manifestation creates the consciousness of a more clear distinction and accuracy of perception. And the creation of worlds continues until the real and most dense level of being arises, where there is still a spatial existence in a one-dimensional time - our universe. It is here that the consciousness of living beings begins to realize himself.

The more tightly below the Being Plan - the more embodied objects of reason. The universe, our cosmos - the basis for the identification of life and mind in the universe, it is the cradle and the very beginning of the self-awareness of the world. The higher the Being Plan and closer to one - those conscious objects less, the more larger, developed, more significant. This arises the hierarchical structure of matter and mind in the universe, which allows it to organize it, to manage and maintain his evolution.

The whole matter is intelligent: and not only the beginning of the world - Sattva, Rajas and Tamas, but also any other, less large arrays of energy, material objects and processes in the world have consciousness. Planets, stars, galaxies have a highly developed, albeit completely different from our consciousness. These consciousnesses are their way of development in the processes of creating and evolution of the materiality of the world.

Together with the beginning and elements of the world, the spirits of peaceful hierarchies send the processes of creating and forming the materiality of space. This activity results in the creation of conditions for the origin of life on the planetary systems of stars. On Earth, in addition to the elements of nature, their evolution and smaller spirits are held - echoed, spiritualizing all natural, natural processes of existence. Although compared to a person, they can be significantly larger.

Individualized parts of the consciousness of a single embodiment in the form of consciousness of living beings begged their way of development and self-knowledge in the universe of the worlds created by the evolution. As they develop and improvement, they gradually rise according to the plans of being all closer and closer to one. And she finally reached the perfect unity and the similarity of their manifestations with one, they finish their separate evolution merging with it without losing individual self-awareness.

Formation

All matter and objects of the world are the energy of one, sattva divided into polarity. Energy in other states can not exist in the universe. In the creation of the world, the exposure began and the elements of the density of Satva increases, changing its properties. Sealing sattva becomes more and more tamatical, losing dynamism. These are all objects of the universe gain quality inertia and dynamism in their relationship, showing polarity at the level of the properties of world objects. As a result, the polarity is manifested not only in the structure of matter, but even in the properties of material objects, causing them their interaction.

The properties of any object are in dialectical dependence on each other. The extremely small tamaticity of materiality always corresponds to a very big dynamics. Conversely, in a very inert and dense object, very little movement. For the harmonious state of these objects and the whole universe, they must interact, balancing opposites of each other. It is so empty space that is balanced by the occurrence of dense planets and stars of the universe. For Sattva is obtained by dividing one whole.

Sattva As a manifestation of the interaction of two objects with pronounced properties of Yin and Yang, always implies the presence of them oppositely the weak properties of Yang and Yin. And it's not by chance of trimurti (Hindu Trinity): Brahma, Vishnu and Shiva, had their female halves - Sarasvati, Lakshmi and Parvati, forming Tridhevi (Women's side of the Trinity). This religious construction only reflects the reality of structuring the object, physical world of the universe.

Vacuum, space (creating the form of all the universe) - there is the thinnest matter of the world, very dynamic with extinctingly small messenger. The substance of black holes in space is the most dense matter of the world, extremely inert with insignificant dynamism. This is the maximum range of natural manifestation of the limit properties of Sattva in the universe. There can be no object in the world with simultaneously extremely large properties of Rajas and Tamas.

Only artificial, for example, an architectural structure, an object can have at the same time very pronounced properties of rajas and tamas (for example in form) in their sharp interaction. This creates a concentrated state of sattva, which is not characteristic of the natural state of objects. There is a maximum limiting expression of the idea, the principle that forms a multi-level channel of exposure, a multilayer flow of information to a person - simply mentioning the image arises.

The amplitude of manifestations began on Earth is also "attached" to matter and objects of our world, although less space. From the density of the hot core of the planet to the cold of the discharged stratospheres, from the dark rocks to the luminous ionosphere of the Earth. It is the interaction of Rajas and Tamas in matter changing its properties, it allows the form to give a substance. The form is given by various degree of manifestation of elements in materiality and occurs as the boundary between different states of the substance.

The formation of the universe, astronomical objects of space, the geological formations of the Earth is all processes of giving the form of energy, matter, substance. Creating a form occurs due to the occurrence of the difference of energy concentrations, fields, substances. And caused by the conducive effects of Tamas on the matter of Sattva, increasing with the creation of more and more dense worlds. Creating space and plans for the existence of the universe, stars, planets and galaxies in space, mountains and landscapes on planets, there is a space and natural architecture as the art of formation in general.

This natural formation is the derivative of the Tamas function. The emergence of the form, according to the principle of the opposite, with the maximum minimal manifestation of Tamas - the creation of a boundary with a wall, fence, shells, shells, any membrane generally from the matter of another state, distinguishing medium. In its limit, the formation of such a plan is possible in general without Tamas - in the form of an illusory border, line, just a symbol.

Pyramid Hufu (Heops) The architect Chemoon created the formation of rock monolith, the concentration of the substance, leaving the stone blocks. The Glass Pyramid of the Louvre Architect Bay Yu Min created, forming its form only by the designation of the boundaries, the illusory symbol illustrating the principle of the form of the form, as the borders between the two volumes. The glass pyramid is made with an extremely small manifestation of Tamas - just opposite the pyramid of Heops.

Practical (non-symbolic) architecture is more difficult. It operates both external and inner form, generating this structure of architectural space. And this is already the interaction of Tamas and Rajas, as cosmogonical principles, in the structure of objects. Materiality acquires a structure when Rajas (emptiness) is made in Tamas (substance). With our review, we will limit ourselves to only external formation as the basis that determines the image of the architectural work.

In the formation (the basis of which the Tamas is created) is necessarily Rajas. Balance between Tamas and Rajas is sometimes incomprehensible and thin, but it is he who gives nuances of images. After all, the volume of space described by the dome and polygonal tent is almost identical. But what a striking difference as a form is or a female, or the male aspect of the image. Giving the form of one or another image, of a particular quality - the most important question of architecture.

The appearance of the form also depends on the level of energy manifestation in the universe. Cold arises an ordered structure of the world, based on the possibilities of manifestation of matter. The density of matter as it expires from the unified and creation of the world grows, up to density of the real universe. Depending on the density, materiality acquires different properties. It is these differences that make it possible to talk about the layers of the universe, about individual worlds, about the plans of being.

Being plans create different levels of the organization of space, and by this, the entire process of forming the world is unfolded on the floors: the universe is the plans of being - the Universe. In the Universe: Galaxy - Solar System - Earth. A reflection of this level structure in the formation of a person arises division: design of the premises - architecture - urban planning - megapolis (territorial complex). This is a natural illustration of the existence of the vertical scheme of the organization of the universe.

The test of TPISEGISS is attributed to the words: "What is down, like a lot, which is in, and the fact that you are, like a lot that down." This is a reflection of the understanding that a small circle of the basic principles of building peace by interaction at different levels of being gives all the variety of life. The being of each level of the structural organization of the universe is under the same laws. But the beginning of the world exhibit themselves at all levels of being, respectively, the possibilities of each level.

And if at the level of the Unified Rajas and Tamas reflect the universal principles of structuring the energy and the existence of the world. That at our level, the interaction of these principles gives the dialectivity of the properties of objects (male and female in the lively, the duality of electrical charges, etc.) and the polarity of all processes of our existence. Therefore, the mapping seemingly simple and banal things, known and understandable to everyone, may reflect the principles of construction of all things.

To be continued...

Aspects affecting the formation of student interuniversity centers

Matietia Gayana Gamoyakovna

master of 2nd Course, Department of Design of Architectural Environment Iarhi, Rostov-on-Don

Pimenova Elena Valerievna

scientific Director, Professor, Candidate of Architectural Sciences, Rostov-on-Don

For the design and construction of this type of building as a student inter-university center, it is necessary to analyze foreign experience and identify the main trends and the principles of the formation of this type of building. First of all, student centers should be considered on some aspects of their formation. These aspects can be diverse in essence and have different components. Let us dwell on the main and most important of them: urban planning, functional planning, architectural and artistic and constructive. An analysis of existing student centers allowed to determine aspects that affect the formation of this type of buildings.

Town planning aspect

The main components of the town-planning aspect are: the effect of transport load, engineering networks, territorial placement of a plot of alleged construction in the structure of the city. When choosing a site of placement, it is advisable to provide for the effect of the building on the established territory and provide opportunities for movement, parking, transportation of transport, as the placement of a large object on the site of urban territory with intensive movement can lead to a vehicle collapse.

The territorial planning location of the student interuniversity centers in the city is dictated by several conditions. First of all, their placement is usually approximate to university campuses. Many student interuniversity centers are located on the campuses. If their placement on the training ground is not possible, the centers can be located near these campuses. In those cities that do not have university territories, the location of student interuniversity centers is possible in areas with the greatest concentration of universities. Secondly, the buildings of this type are main transport and pedestrian paths. Thus, getting into the student interuniversity center becomes unhindered.

In the largest cities of the United States and Canada, many university campuses include a student interuniversity center as a place to communicate students from different faculties. As a result of the consideration of examples of designing and construction of student interuniversity centers, it was revealed that most of these buildings are built on the territory of the university campus. As a rule, the student interuniversity center is located on the intersection of the main pedestrian tract, has convenient transport accessibility for students and teachers. For example, the Student Interuniversity Center of the New York Technological University is located near the main buildings of the University, and is also a composite center of the entire student town. Stratton Stratton Massachusetts University Student Center also takes a convenient position in relation to other blocks of educational buildings. Located near the main road highways. Student Interuniversity Center of the University of Cleveland is connected to the main corps of the university transitional gallery. It is located in the southern part of the quarter from the courtyard of the campus. An important feature of this student center, despite the fact that it is a continuation of the educational corps can be considered its profitable placement in relation to the main pedestrian street. Another example of the arrangement of the Student Interuniversity Center in the University Campus body should consider the student interuniversity center Le Cabanon in France. He also, as well as the Student Interuniversity Center of the University of Cleveland, merged with the Transitional Gallery Corps, but its distinctive feature is that it extends on the free park area of \u200b\u200bthe student town. This territorial-spatial solution simultaneously and unites life at the university with the student interuniversity center due to the presence of a transitional gallery, and allows you to retire to students in the building surrounded by nature. The city planning analysis is discussed in detail in Figure 1. An example of consideration is 4 modern buildings of student interuniversity centers. Their situation was analyzed in the structure of the university campus, transport accessibility and gardening of the territory.

Functional-planning aspect.

Figure 1. Analysis of the site of the arrangement of student interuniversity centers

A functional and planning aspect consists of a number of functional zones or groups capable of interacting with each other. The competent location of the main functional zones, the message between them, the possibility of orientation inside the building creates the basis for a successful, thoughtful plan. In order to achieve proper functionally built-up plan, you need to effectively use the area, compact and conveniently placed the main rooms. Also, to create a functionally planning structure of the building, it is quite important to enter it into the context of the development by the effective organization of the General Plan. The main components of the functional planning aspect are: Organization of major groups of premises, the organization of technical premises, communications between the premises, as well as the connection of the building with the external environment. Each building has its own definite and necessary composition of the premises. For example, the following functional zones are characterized for student interuniversity centers: free communication zones (students' meeting, recreation area); Interest Zones (Research, Theater Mugs, Architectural Workshops, Art Studios, Exhibitions, Sports Rooms, etc.); Power zones (cafes, restaurants). In addition to the main groups of premises, secondary: administrative; technical; auxiliary. The whole composition of the premises must be associated with the help of vertical or horizontal communication paths. With a different functional planning structure, these communications may have different elements of the building. With the molten form of layout, connections are extended corridors, with a compact elongated plan, the relationship is carried out by means of innovative vertical transport. These can be stairs, elevators, as well as escalators. The functional planning aspect also affects the creation of an architectural environment around the building. An important criterion is the organization of the General Plan with all the entrances, drives, galleries, tracks, terraces, stairs, open spaces, the organization of the main entrance, gardening.

When forming functional and planning solutions of student interuniversity centers, consumer interests (in this case of students) must be taken into account and, depending on them, to sew a certain composition of the premises. In each case, the action of a functional planning aspect is unequivocal and, depending on the specific situation, the composition of the premises varies. This makes it possible to develop design solutions that in each particular case best meet the tasks of creating a student interuniversity center in which one or another city needs.

Figure 2. Analysis of the functional planning structure of student interuniversity centers

Architectural and artistic aspect

The architectural and artistic aspect has an important meaning when building a building. Its influence is primarily formed from the architectural plan of the author (the main idea of \u200b\u200bthe architectural project), as well as the proposed materials and color solutions. It should be noted that the architectural solution is generally laid the degree of influence of all other internal factors. The architectural and artistic aspect affects the creation of an artistic image of a building, feasibility, modernity of the design solution, the choice and use of durable, practical, and corresponding to the aesthetic requirements of materials. For architects since ancient times, the main issue is the creation of aesthetic image of the designed building. Even the famous postulate of Vitruvia "Benefits + Strength + Beauty" indicates the equivalent of three concepts. The building is only in the case, it seems the impression of the architecturally finished when it is functionally thoughtful, competently fulfilled and has an artistic image.

The color solution laid down in the finishing materials of the building also affects the perception of the entire building as a whole (due to the physical characteristics of the color - its ability to absorb and repel the light rays). Before the architects in the formation of an artistic image of student centers there is a task to identify the features of the building as a place for work, business meetings, communicating with people.

Figure 3 shows the analysis of the building of the Student Center of the Cleveland Technological University from an architectural and artistic point of view. The main compositional elements are given, with the help of which the building of the student center is formed.

Figure 3. Analysis of the architectural and art composition of the student interuniversity center CSU

Constructive aspect

To create a modern and interesting building in terms of building designs, it is necessary to take a harmonious combination of constructive and architectural elements. The building designs should be not only modern, but also to meet the requirements for reliability and durability. Ensuring a long service life of structures is the key to the successful prosperity of the building. In order for the building to meet modern constructive requirements, it must have such components as: the modernity of the constructive solution, the use of modern and durable materials and their rational use, accurate calculation and modeling of structures. Constructive solutions must be unique and optimal.

The optimality, modernity and uniqueness of the structural system of the building are the main components of the constructive aspect of the formation of student interuniversity centers. The optimality of a constructive solution makes it possible to reduce the material costs for the production of structural elements, as well as save materials and time when building a building. Uniqueness involves taking into account all the features of the object, the ability to withstand additional loads is a harmonious association of architectural and engineering solutions.

Modernity of a constructive solution involves the use of the latest achievements of science in the development of constructive solutions, construction and operation, which makes it possible to ensure durability and savings of materials.

Analysis of the described aspects allows the following conclusions:

· Student interuniversity centers are usually built on the campus;

· Construction of student interuniversity centers on large open landscaped spaces with territory improvement;

· Presence in the planning structure of the building of a significant amount of premises for free communication of students;

· Application of environmentally friendly building materials, landscaped roofs;

· Free layout of the plan;

· The structure of student interuniversity centers highlighted public catering areas, entertainment, cultural and educational, research;

· Use of modern and durable materials.

Bibliography:

1.Ipponnikov A.V. Stepanov G.P. Basics of architectural composition. // M., Art, 1971, - with. 5-14.

2.Ipponnikov A.V. Function, shape, image. // Architecture of the USSR, - 1972, - No. 2, - with. 14-16.

3. Lazareva M.V. Multifunctional spaces of large community complexes: dis. ... candidate architecture / M.V. Lazarev. M., 2007, - s. 30-35.

Lecture plan.

1. Basic concepts of architecture .

2. Problems of architecture.

1. The basic concepts of architecture.

The construction refers to the most ancient types of human activity, which means that many millennia ago laid the foundations of architecture.

The beginning of architecture as art appeared on the highest level of barbarism when not only the laws of necessity, but also the laws of beauty begin in construction.

For many millennia, its existence architecture was understood and determined in different ways, but always, depending on the tasks that were put in front of it at a particular historical stage of the development of society.

Word " architecture"Comes from the Greek word" architecton.", What means " chief Builder. " Synonym for him - Russian " architecture"From the word to build.

The classic definition of architecture served as a phrase " art build buildings", As well as this roman architecture theorist (1B.N.) Mark Vitruviya defining the tasks of the architect:

“... All this should do, taking into account strength, benefits and beauty. "

And if these tasks in a construction understanding, of course, are important for our time, then the definition certainly does not characterize what modern architecture is engaged.

To one extent definitions of architecture are:

"Architecture - there is art to organize space, And it realizes itself in construction. " Auguste Perret.

"Architecture is also the chronicle of the world: when there are already silent songs and legends and when nothing speaks about the deceased people of N. Gogol.

Among the definitions of data architecture at different times, different people and often are not architects there are such as:

Architecture is an art that gives to the Divine.

Architecture - decoration that build.

Architecture - Song of the Excited Mind.

You can select a number of other architecture defining tasks:

architecture - light,

architecture - construction,

architecture - Wednesday

architecture - activities.

Probably unilaterally identifying architecture is impossible. It becomes clear that this is a multi-size phenomenon where all the materials and spiritual phenomena are intertwined and merged. Those. We are dealing with a complex cozeny system. And probably B. architecture perform in doubles and material and spiritual. Moreover, this is the most important. These parties architecture are not equivalent. Material has crucial importance to society. Architectural facilities and complexes, whole cities and towns are interested in as a spatial environment for society's vital processes. At the same time, architectural structures and ensembles have peculiar expressions, are works of architectural art.

Therefore, when considering the definition of the architecture, based on the tasks facing it at this stage of historical development, we will be based on the following definition:

Architecture - Architectural structures and complexes created in the design and construction process, in which engineering and constructive means is created by the spatial organization of labor, life and culture, and at the same time there is a peculiar specific expression of this environment as art.

This definition may be conditionally formalized as a scheme.

but – architectural intent and design Architectural design is the region of spiritual production, the required combination of engineering and social settlements with artistic creativity.

c- Construction (Material production) is implemented in structures, but it does not boil.

So, architectural design - models, construction sells (and society is not interested in the designs themselves, but the space that they protect).

The second aspect of architecture as the system is an architecture object (environment).

The material and technical nature of construction is directly implemented in the engineering and structural unit of structures ETC - Strength. The real architectural structure is unthinkable without engineering structures, but it does not boil down to them.

There is a difficult thing about the determination of the social nature of the appointment of residential and public structures.

The complexity here is that social processes occurring in the dwelling, school, theater, highly diverse. And yet, in this wide sphere, which Vitruvius designated the capacious word "benefit", there is a certain generality: all buildings and structures are caused by public needs, created as a result of construction as a type of material goods and are precisely material benefits.

P - benefit, socio-functional serviceman.

So, the main social appointment of architectural structures is to be material (and cultural) benefits that serve for a spatial organization of almost all social processes - labor and life, entertainment and culture, etc. There is also the main material function of a wide variety of architectural structures.

U - utilitarian (practical) functions.

But architectural structures should have, in addition, and artistic qualities - A - "Architecture as an art".The art side of architecture is more expressing the social appointment of different types of structures, constructive stroke (tectonics) of structures, as well as a number of general social and artistic ideas: humanism, democratism, ideas about the aesthetic ideal of the era "frozen music". So Architecture always and naturally should be art and, therefore, a cultural blessing, creating artistic values.

The main thing in the architecture for society is the two of the social material appointment and artistic expressiveness. However, it happens that the architects forget about it and as a result fall into or in the sin of decolation, decorations, eclecticism (end of the 30s and 40 g.) - Work clubs Soviet architects have erected in the form of landlord choirs, etc. or disregard. Artistic expressiveness led to the simplified "naked" constructivism - "Cheryomushki".

By installing the main task, the organization of the material space for practical purposes, the architecture simultaneously serves and the means of emotional impact on a person, while satisfying, thus, not only its material, but also spiritual requests, in particular aesthetic, being one of the arts of art.

The importance of architecture as a factor affecting the consciousness of people in public life and in everyday life is determined by everyday, inevitable, continuous impact of her per person. A person lives, works, resting, constantly experiencing its influence. In this distinction of architecture from other types of arts that provide temporary effects that can be regulated.

The architecture is determined by those conditions in which it arises and develops, and primarily with public relations, as well as material factors - the level of development of productive forces, the state of construction equipment, natural conditions. The socio-economic conditionality of architecture contributes to the identification of features and traits inherent in each public system. This affects the predominance in certain types of structures, their functional content, in the ways of solving aesthetic tasks. Fine expressiveness, the ability to affect feelings, and through them the consciousness of people makes the architecture of serious ideological weapons. This property of architecture was widely used by dominant classes in different historical epochs. So the architecture of ancient Egypt was a reflection of technocratic, absolute system, the domination of the castea of \u200b\u200bpriests. Monumental structures (for example, pyramids) were called upon to approve the power of the powerful rulers.

The architectural image of the object being designed is often revealed by monumental art: painting, sculptures. And in this sense, architecture is the synthesis of arts, construction and monumental.

Architectural Image - the ideological and material essence of the structure detected by artistic means; Artistic expressiveness of the object.

The basis of the architectural image is architectural composition.

Architectural composition - the relationship of volume-spatial and planning elements of the building (facilities) or elements of the medium bound by ideological idea and appointment.

Artistic expressive building built on laws architectonics.

Architectonics - artistic way of composition, built on the unity of a constructive and artistic and shaped form.

The functional, constructive and aesthetic features of the architecture changed during history and embodied in architectural style.

Architectural style- A combination of the main features and signs of the architecture of a certain time and places that are manifested in the peculiarities of its functional, constructive and artistic parties (techniques for building plans and volumes of compositions of buildings, building materials and structures, shapes and finishing of facades, decorative interior design).

Since the most ancient times, until the middle of the XIX century, the dominant design basis of the architecture was a beechly-beam system.

The principle of the combination of vertical-support and horizontal beams remains unchanged and in the lightweight wooden columns of the Chinese and Japanese pavilion, and in the massive columns of Egyptian temples, reaching 20 m in height and in the form of modified lotus. Decorativeness, inherent in the architecture of the early period of its development, is an attempt to hide, decorate the female-beam design for the forms borrowed from nature. For many centuries, the architects were not solved to open the strict beauty of the design itself. To open the design for the first time in ancient Greece, the homeland of the architectural order.

Architectural order- Summerly meaningful procedure for placing the carrier and irrevoyable elements of the beam-beam structural system, their structure and artistic processing.

The forms of the ancient order are universal in relation to the material: they reproduce the work of the female-beam design in stone, tree, concrete.

However, with all the aesthetic harmony of the ancient warrant, it is limited to the relatively small sizes of the overlapping span. In the development of this task, the Romans first joined the warrant with the wall and turned to the experience of countries of the Ancient East, Mesopotamia, Persia, for which the traditional was the dome designs of overlaps.

Concrete dome of the Roman Pantheon (125 G.N.) with a base diameter of 43 m became the first in the history of mankind by the Bolshevarlet construction.

Dome- Spatial bearing design of the coating, form close to the hemisphere or other surface of rotation of the curve (ellipse, parabola, etc.). Dome designs allow multiple spaces without additional intermediate supports.

Arcade - a number of the same on the size and shape of the arches, interconnected, relying on columns or pillars; Found a wide application when equipped with open galleries, supports of bridge structures.

Order Arcade - Arcade in combination with an overhead order.

Arkatura - Decoration of the wall in the form of a row of decorative arches.