Refers to deep composition in the architecture of a building. Types of architectural compositions

K category: Design

Architectural composition

The art of architecture manifests itself where a person tries to organize and streamline space in a certain way. The architectural composition is created by three types of means: the arrangement of volumes in space; relationship, proportions, symmetry, color, scale of architectural volumes and their parts, details; inclusion and use of elements of painting, sculpture, landscape art.

The volumetric-spatial composition is built based on the characteristics of visual perception. The figures and forms that we observe are made up of planes and the lines of their intersection. Volumes are formed from planes, and space is created from volumes. Architectural space is different in that it is inextricably linked with a person who is either inside or watching from the outside. Not only the elements enclosing the space have aesthetic value, but also the space itself. The relationship between the mass of material and the empty space that it encloses or surrounds is one of the first emotional sensations when encountering a structure.

The shape of a building's volume is usually determined by the internal structure. Sometimes this relationship is direct and obvious, as in a one-story house with a flat roof. However, complete correspondence between the shape of the shell and what it contains is not necessary. The inevitable difference is determined not only by the thickness of walls and other fences, but also by voids for structural and technical purposes. Any building with a high attic roof, necessary for removing water and snow, has external dimensions that are not related to the functional internal space. In the architecture of the past there are examples of complete independence of volume from internal space. The construction of the building's form served to solve special artistic problems related to the appearance of the structure and its role in the ensemble of neighboring buildings.

Any structure has three dimensions: length, height, width. Three-dimensionality is the main property of architectural volume, therefore, when designing a house, the main compositional task is to identify its volume from different observation points.

The predominance of one of the quantities gives a characteristic feature of a particular composition: a high-rise building - with a predominance of height, an extended building - with a predominance of length; flat house - with a predominance of width. Such features of composition as frontality, spatiality, and volume are the basis for the classification of the volumetric-spatial composition of buildings.

The frontal (frontal-planar) composition is designed to be visible from one side and is perceived from static points of view. For example, the general view of the house from the entrance to the site, the facades of buildings, the design of individual walls.

Characteristic of a frontal composition is the location of all its elements and parts in relation to the viewer, mainly in two frontal coordinates - width and height. The depth coordinate in frontal compositions is poorly developed or has a subordinate importance.

When solving a frontal composition, the main task is to identify the surface, which is characterized by the following basic data: the ratio of width and height, shape in plan, outline or silhouette, inclination relative to the vertical, window openings.

The simplest type of frontal composition is a vertical rectangle. Narrowing the rectangle upward creates the impression of tilting away from the viewer, and narrowing downward creates the impression of tilting forward:
Division has the same effect on the perception of a rectangle. With an increase in the frequency of divisions (horizontal or vertical) in one direction, it will seem that the plane is bent. With curvilinear divisions, the plane will be visually deformed;
If the division of the surface is caused by constructive or functional requirements and we, on the contrary, want to restore the frontality, then this can be achieved by applying additional division, but in a different direction (for example, the introduction of vertical pilasters when the surface is disrupted by the horizontal lines of the plinth, sandriks, cornices).

Let us consider the methods by which the compositional unity of the surface is revealed - the artistic quality necessary for any composition. There are two main ways: the first is to fill a given surface with uniform divisions (for example, a cage imitating a wall made of stones, or rusticated blocks, the use of facing bricks); the second is to divide the plane into unequal sections with the establishment of subordination between them (door and window openings, protrusions and turns).

It should be noted that dividing the surface in only one direction is undesirable. Horizontal divisions emphasize the lateral limitations, while vertical divisions draw attention to the top and bottom of the plane.

Rice. 1. Uniform division of the window frame frame emphasizes its frontality

Rice. 2. Horizontal divisions emphasize the limited form from the sides, vertical divisions emphasize the limited form from above. Uniform divisions in both directions emphasize the frontal shapes

When individual closed forms (windows, doors) appear in the plane, it is important to identify the main divisions: surfaces and openings, subordination in height and width between the dimensions of the entire plane and individual forms.

The volumetric composition is designed to be visible from different angles and is perceived when moving around it. A compact house on a separate plot is an example of a volumetric composition consisting of elements developed along all three coordinates (width, height, depth). Revealing the three-dimensionality of a composition is the main task of design.

The shape may have the following features: predominance of horizontal, vertical or depth coordinates; outlines, silhouette complex or simple. The planes of the walls that form the volume can be straight, inclined, curved, vertical, etc.

To identify the geometric patterns of architectural form, the following means are used: dividing the volume into component parts, emphasized by shifting shapes and recesses; comparison of various contrasting types of surface (rectangular, beveled, broken, circular curves, curved contours of enclosing surfaces); comparison of mass and space; textures and colors.

The main techniques for identifying form are based on geometric patterns of surfaces, edges, divisions, the purpose of which is to open the third dimension to perception from any arbitrary point of view. Equality of length, height and width leads to a static volume (sphere, cube). The predominance of two quantities leads the shape to a plane.

A three-dimensional form from some angles can be perceived as flat, which detracts from the impression. For example, a house in the form of a cube, when only one of its sides is perceived, loses its three-dimensionality. With a slight turn, when its two sides open, the shape is revealed due to the perspective reduction of the edges (Fig. 3). This angle gives greater expressiveness to the volumetric form.

Rice. 3. With a small turn, when not only the facade opens

Rice. 4. When viewed from above, the shape of the building is revealed, which is easy to imagine from the pattern of the roof

The perception of shape depends on the height of the horizon. Its central position in relation to the height of the wall makes the form inexpressive. Lowering or raising the horizon line (viewed from below or above) helps to identify the form, since the configuration of the plan or roof becomes partially visible (Fig. 4.).

The impression of volume is enhanced by the uneven illumination of the sides, the opening of the internal volume, the division of the surface, and the contrasting comparison of forms with different geometries. In addition to identifying three-dimensionality, the main task remains to achieve compositional unity of parts and harmony as a whole.

A deep-spatial composition has forms that create visual depth.” A deep composition can be formed using the following types of spaces: closed on all sides and from above (interior) and limited on one or more sides (exterior). An example of an outdoor composition is a patio surrounded on three or four sides. In this case, the volume of the enclosing walls is not perceived, and they turn into enclosing planes (Fig. 5).

Rice. 5. Confined space

Rice. 6. Open space

An enclosed space is a space that is flanked on two sides or surrounded on all sides. A person in such an environment feels “inside.”

Open space is organized, as it were, “outside” the central volumes and is revealed by their size, shape, and pitch; does not fence off, but envelops, embraces, flows around the volumes that organize it (Fig. 6).

The composition of the internal space is determined by the nature of the processes for which the building is being constructed. Various groupings of space inside a building consist of a combination of five main types: cell, corridor, connected, enfilade, hall (Fig. 7).

The cell system is formed from parts independent from each other, which can be represented by an isolated room or apartment in a terraced house (cell apartments in these houses have independent entrances from the street and, although closely blocked with each other, the internal space is completely mutually isolated).

The corridor system consists of cells connected by a common linear communication. One-story residential buildings of the corridor type include several apartments and allow you to combine some household processes.

A connected, corridor-free system connects cells around a common space. When organizing a communal home, such a center is a large common room.

The enfilade system is a series of rooms located along an axis one after another and connected by passages or openings. This composition is arranged in the front part of a residential building for a large family. For example, this could be an entrance hall, front hall, living room, dining room, connected by a common axis-passage.

The hall system is a single space in which all functional processes are concentrated. This system is convenient for frequent apartment renovations, when all partitions are made movable, and there is a system of points in the floor or ceiling to which electricity, communication cables and other communications are supplied.

Rice. 7. Planning schemes: a - cellular; b - corridor; c - connected, corridor-free; g - enfilade; d - hall

Furniture and functional areas in such an apartment are placed randomly.

In practice, all these compositions are found in combinations and form so-called mixed systems.

Architectural composition is an integral system of architectural forms that meets artistic, functional and structural-technological requirements. Artistic unity must be inherent in both the composition of individual objects and their complexes. In architectural design, artistic means are selected taking into account the purpose of the building, aesthetic principles and the psychology of perception.

The main components of the architectural composition of a building are its external volume and internal space. The construction of the composition is based on harmonious, i.e. proportionate unity of the external volume of the building with the space of the interiors and the environment, which contributes to the creation of an artistically complete whole.

The unity of the external volume and internal space of buildings is observed if the architectural composition ensures that the sizes and shapes of the volume of facades and interiors match. Thus, in the examples of a residential and public building given in , the volume and space are consistent: the fine-cell fractional internal space of a modern multi-storey residential building corresponds to its external finely articulated volume, and a public building with a hall corresponds to a monolithic volume with large divisions of form. However, in some cases, the discrepancy between the external form and internal space can be specially provided for and compositionally justified.

Sometimes they resort to it when creating compositions with a large ideological program in monumental buildings and monuments. Such, for example, is the Intercession Cathedral (St. Basil's Cathedral) in Moscow, erected in memory of the “Capture of Kazan” in the 16th century. architects Barma and Posnik (Fig. 6.1). The temple is a complex of ten tower volumes: nine pillars of temples dedicated to saints, whose memorial days fell on the days of successful battles in the campaign against Kazan, and the tenth - bell towers. The towers were erected on one common base and united by galleries. With all the variety of forms of towers and their decoration, the architects achieved amazing unity, solemnity and monumentality of the composition. The interior space of the temple, which plays a subordinate role, is finely divided and lacks monumentality.

If in buildings the relationship between the volumetric form and the internal space is, as a rule, mandatory, then in engineering structures it is often absent. Thus, in underground metro stations there is only internal space, while in bridges, overpasses, television and water towers, external volume predominates. However, compositional tasks in the design of engineering structures are no less important. When designing metro stations, in addition to solving functional problems - ensuring normal conditions for the movement of continuous human flows - the architect, using the emotional impact of compositional means, eliminates the possibility of unpleasant sensations from being underground and the lack of natural light. When placing bridges, towers and other engineering structures in urban areas or in the natural landscape, the architect finds for them such forms and proportions that are in harmony with the environment and contribute to its enrichment.

The internal space is the main functional environment for which the building is erected.

Interior compositions

Perceiving the composition of interiors in time while moving deeper into the building requires identifying its main depth coordinate. The means for identifying depth depend on the space-planning structure of the building. In an enfilade system, identifying depth is facilitated by the placement of all rooms and openings connecting them on the same axis. In an undivided space, its depth reveals a reduction in the aerial perspective of the distances between regularly located elements of the interior composition - internal supports, openings, structural divisions of the covering or ceiling, floor pattern, etc.

Modern construction technology has significantly expanded the possibilities for solving interiors, and the most important new technical means for the composition have become the use of long-span ceilings, mobile internal fences and large translucent surfaces of external fences.

The number of types of buildings is constantly increasing, the internal space of which must simultaneously accommodate a large number of people and not have internal supports that impede movement or visual perception (stations, airports, exhibition halls, indoor markets, indoor entertainment and entertainment sports buildings, etc.) . Spatial structures make it possible to cover spans of any functionally necessary size in such buildings, and the original geometric shapes of the floors are actively included by the architect in the interior compositions. New structural systems relieve the external walls of buildings from the load and make it possible to replace them completely or partially with translucent fences. This makes it possible to connect the interior space with the landscape or urban environment. However, the technique of fully opening the internal space to the external environment must be used in strict accordance with the functional purpose of the building. It is appropriate in a station building, an airport, or a sanatorium living room, but it conflicts with the functions in buildings where intimate processes or activities that require concentrated attention take place (residential buildings, hairdressers, classrooms).

Composition of external volumes

Both methods developed in the 20s. The first is associated with the work of the leading masters of functionalism (the Vesnins, V. Gropius), the second - with the work of Mae van der Rohe, who enclosed in a laconic volume of a glass rectangular prism buildings for any purpose (apartment building, theater, office, university classrooms or exhibition hall).

The mass practice of architectural composition is closer to the first method, but avoids the literal reproduction in divisions of the external volume of the functional structure, which can disrupt the artistic unity of the form.

The requirements of compositional unity dictate the need to limit the division of the volume of buildings into a small number of elements or groups of elements. This necessity is determined by the psychophysiological laws of human perception. It has been established that there is a certain limited number (7+2) of simultaneously observed objects, the number of which is directly recorded by consciousness (Muller’s rule). A larger number of objects is perceived only as a certain aggregate, an indefinite set. In relation to the perception of architecture, the multiplicity of relatively independent fragments of the composition deprives it of unity and gives the impression of randomness and chaos.

No less important for ensuring the unity of the composition is the subordination of its constituent forms. Subordination is possible only if the constituent elements of the composition are unequal: the equivalence of the elements visually destroys the composition, decomposing it into single volumes. It should be borne in mind that compositionally unequal elements can be elements whose geometric dimensions are the same, but their position relative to the axis of symmetry is different, their massiveness or other characteristics are different. So in Fig. 6.3, a, the middle of three equal parts predominates due to its placement on the axis of symmetry, and in Fig. 6.3, b - the upper of two equal ones is perceived as sharply different due to the different massiveness.

Types of compositions

Volumetric composition

Frontal composition

High altitude composition

Deep or deep-spatial composition

Notes

When developing projects for residential, administrative and other buildings, architects create the composition of the internal space. It should be closely related to the volumetric composition that determines the external shape of the building.

The shape of the external volumes of the building can be very different. However, in the vast majority of cases it either corresponds to or is very close to the shape of simple geometric bodies, such as a cube, parallelepiped, pyramid, prism, half-cylinder, hemisphere, ring or half-ring.

Architects classify the external volumes of buildings and structures into simple and complex. Simple are those that consist of only one volume, and complex are those that consist of two or more volumes of different shapes. In addition, so-called complex compositions are also distinguished. They consist of several buildings that make up a single and harmonious architectural complex.

When architects are given the task of designing a building or structure for mass construction, in the vast majority of cases simple compositions are used. This ensures efficiency and functionality.

If the task is to design a complex composition, then you must first determine the number of different volumes that will make it up, as well as the order of their arrangement relative to each other. It should be borne in mind that if you change the relative position of the volumes and their number, you can achieve completely different artistic results. When developing complex compositions, it is recommended to avoid the presence of a large number of small volumes, that is, compositional fragmentation. It is believed that the best approach is to use three or four large volumes, so that small volumes do not deprive the composition of expressiveness and do not complicate its perception.

Experts classify all volumetric compositions into:

• Frontal;
• Deep;
• Centric;
• Vertical.

Frontal These are compositions in which the volume is developed in one direction. These are, for example, multi-storey residential buildingsconsisting of several sections.

Glybinnymi those compositions are called which, as their name suggests, are developed in depth.

The main characteristic feature centric compositions is the presence of a large room in their center. Central compositions are, for example, indoor markets and circuses.

Main characteristic feature vertical compositions is a significant predominance of height over other dimensions.

Frontal volumetric composition

Deep volumetric composition

Centric volumetric composition

In order to volumetric composition had a harmonious appearance and looked like a single whole, it is important to achieve the subordination of its various elements and highlight the main one from them. It is for this reason that the central part, which includes the main rooms of the building, is placed in most cases on the main axis of symmetry. Thus, its dominance is achieved, both in volume and height in the overall volumetric composition. As for the side parts of the volumetric composition, they have a significantly smaller volume, and the importance of the central part is thereby emphasized.

The appearance of any building or structure is determined by its structural and planning structure, urban planning conditions and purpose. The architectural design of the building must be aesthetic, modern and satisfying the aesthetic tastes of the residents.

The most important architectural requirements for residential buildings include consistency and clarity of composition, beauty of proportions, cost-effectiveness of the chosen solution, as well as high quality finishes. When designing buildings, it is necessary to take into account urban planning, economic conditions, and its purpose.

Composition(from Latin compositio - composition, connection, linking) is the construction of a work of art, determined by its content and purpose and largely determining its perception. Composition is the most important organizing element of any artistic form, giving the work unity and integrity.

Architectural composition refers to a certain regular arrangement and combination of all external and internal elements of a building, harmoniously coordinated with each other and forming a single whole. The regular arrangement of several or many buildings in combination with the external space also constitutes an even more complex composition - an ensemble.

Thus, in a broad sense, composition is understood as the artistic structure of an architectural work, an artistically expressive system of forms arising from specific content and revealing a specific ideological and artistic concept. Without knowledge and correct use of the principles of composition, it is impossible to identify the idea of ​​a work.

The architectural composition is based on the laws of art and science, determined in each case by specific functional, aesthetic and technical and economic requirements. The formula - to build conveniently, firmly, economically and beautifully, expressing the tasks of architecture, also determines the foundations of architectural composition, which is thus the embodiment of the unity of form and content. The goal of architectural composition is to achieve this unity.

The various requirements placed on architectural structures sometimes come into conflict with each other. Thus, the need in some case to use expensive finishing materials contradicts efficiency, the conceived volumetric-spatial solution does not fit into the existing environment, the desire to create large free spaces without intermediate supports complicates the constructive solution, etc. The task of the composition is to reconcile all the contradictions. After all, the same building can be solved using different compositional techniques. The skill of an architect lies in finding the best one. Talent and intuition play an important role in this.

At the same time, in order to master the skill of composition, the architect needs to know its laws, which are the basis of architectural literacy. In architecture, as well as, for example, in literature, where knowledge of grammar does not make any person a writer or poet, but for literary creativity this knowledge is necessary.

The theory of architectural composition is part of the general science of architecture. Its content is the study of the laws of the structure of form (shape formation). It forms, as it were, a transitional stage from general theory to practice, skill, and creative mastery.

The patterns studied in the theory of composition are called categories or elements of composition. These categories include: volumetric-spatial structure, tectonics, means of harmonization (symmetry and asymmetry, rhythm, proportions, scale, contrast and nuance, etc.).

Volume-spatial structure and tectonics are the main, primary categories of architectural composition, directly related to the functional orientation and structural structure of an architectural work. These two interrelated categories - space and the shell that forms it - are inseparable in works of architecture.

Symmetry and asymmetry, rhythm, proportions and other means of harmonization serve for the artistic organization of spatial form. With their help, it is brought into line with the characteristics and psychophysiological patterns of human perception. And if the first two categories are a specific property of works of architecture, then the means of harmonization are also used in other types of art - graphics, painting, sculpture.

The basic law of the theory of composition is the law of unity of content and form of an architectural work, the law of harmonious unity of all its parts. If there is unity, then there is integrity of the composition; if there is no unity, there is no composition. One of the main means of creating unity is the subordination of the parts of the composition, their mutual consistency, connection and harmony. The search for unity of composition is the professional task of the architect.

Architectural composition(creation, composition) is a system for creating a project and the architectural object itself.

Architectural composition- an integral system of architectural forms that meet artistic, functional, structural and technological requirements.

Architects are called upon to link three sides in a harmonious composition of the building: on the one hand - convenience and benefit(functional task), on the other - durability and efficiency(constructive and technical-economic task), from the third - beauty of forms(aesthetic task).

The requirements for modern architecture are scientifically substantiated. Science studies the features of individual types of buildings, the interconnection of premises, equipment issues, the dimensions and shapes of space necessary for specific social processes, lighting, and acoustics. All these requirements are taken into account during the construction of public and residential buildings. The choice of location for residential and public buildings in the city, the placement of green areas in order to create the city as a single integral organism, taking into account the influence of climatic and natural conditions, landscape, and the orientation of buildings according to the cardinal points, are scientifically substantiated.

Finally, psychology and human physiology also impose requirements on the architectural compositions of buildings. Architecture, being a human habitat, affects feelings, is reflected in a person’s consciousness and thereby participates in the formation of his spiritual world.

Creating the unity of an architectural composition from many components, the birth of a holistic image based on a set of requirements is the most important task of architecture.

One of the important means of architectural composition is tectonics. Agreeing with the opinion of the famous architect A.K. Burov, we will consider tectonics as the result of a “plastically developed, artistically meaningful design.” Tectonics is the artistic expression of the structural patterns inherent in the structural system of a building. Tectonics is manifested in the relative arrangement of parts of a building, its proportions, rhythmic structure, etc. The category of tectonics is historical in nature.

Tectonics. The word tectonics is tek-tonikos of Greek origin and translated means “relating to construction.” Tectonics is one of the most complex means of expression and organization of form in architecture.

Every architectural plan is realized by certain technical means. Each structure acquires one form or another and becomes a material reality only in construction. The structural system, which refers to the interconnection of load-bearing and non-supporting elements - walls, columns, ceilings, forms the basis of the building. However, a design in itself is not architecture. Only artistically meaningful and plastically developed does it turn into an architectural form.

The truthful identification and embodiment in architectural forms of the nature of the structural-spatial system of a structure, the interaction of its main elements is called tectonics in architecture. A plastically developed structural system, embodied in architectural forms, is called a tectonic system.

Consequently, tectonics figuratively reveals the unity of the structure and the architectural and artistic form, shows the reflection in it of the objective laws of the work of the structure and material for compression, tension, bending, artistic expression of strength, stability, balance.

With the help of artistic expressiveness of form, an architect can emphasize the work of a structure, and for this he must well understand and feel the features of the structure, clearly “see” the direction and nature of the efforts in each of its elements.

As a clear example of the transition of a structure into a tectonic system, we can cite the Greek order (Fig. 1).

The original ancient post-and-beam structure, supposedly made first in wood and then in stone, was determined only by the laws of statics. This system performed its load-bearing function well, but lacked artistic expression. Since ancient times, this system began to undergo plastic processing. But the Greek architects achieved particular perfection in this, creating on the basis of a post-and-beam structure a perfect tectonic form - an order, which clearly reflects the static essence of the post-and-beam structure and gives a figurative expression of the work of its material - stone.

A vertical support expanding from below - a column - reflects the increase in load downwards. The capital clearly emphasizes the place where the load is transferred from the architrave beam to the column; it seems to calmly, but with full force, perceive the load. This tension is emphasized by the elastic line of the echinus in the Doric order. The vertical curve forming the columns - entasis, flutes - all elements of the order are aimed at visually revealing the static essence of this system.

Rice. 1. Greek Doric order. Parthenon

Rice. 2. Examples of different tectonic interpretations of the order system: a - Egyptian temple; b - Gothic cathedral

The formation of tectonic forms is a complex historical process that reflects the social and material patterns of the development of society. With the development of construction technology and science, and the use of new building materials, new tectonic concepts are gradually being developed.

Choosing one or the other compositional solution dictated not only aesthetic principles, but is determined the whole set requirements for an architectural structure - functional, economic and social, as well as specific opportunities and conditions: natural factors, construction technology and others.

The main components of the architectural environment are space, the volume that forms this space, and the surface that forms the volume and space. Based on the spatial arrangement of forms, as well as depending on the nature of their perception by the viewer, three main types of volumetric-spatial composition are distinguished: frontal, surround And spatial.

ARCHITECTURAL COMPOSITION is a holistic artistic and expressive system of forms that meets functional, structural and technical requirements.

The basis or starting points of the architectural composition are the following principles:

STRUCTURALITY - the division of an architectural object into functional elements with the organization of communication between them (MAIN and SUBBODINARY, CONTRAST, SCALE);

PROPORTIONALITY - taking into account the patterns of human perception of architectural form (PROPORTIONALITY, SCALE);

FLEXIBILITY - the ability of an architectural object to change (modification, mobility, dynamics) when requirements change (ASYMMETRY);

INTEGRITY (unity) - visual balance of a dynamic system (MAIN and SUBBODINARY, SYMMETRY).

Types of volumetric-spatial composition (Fig. 3.3):

CLOSED - the architectural object is formed perimeterally around the courtyard;

CENTRICAL - the architectural object has a compact plan (square, circle), in the center of which is the main room with overhead lighting;

BASILICAL - the architectural object has an elongated plan, in the central part of which there is a longitudinal main room of great height;

COMPACT - the premises of the architectural object are combined in the most generalized volume, the main room does not have natural light;

OPEN - an architectural object is composed of interconnected linearly extended volumes.

When designing an architectural object, the following means of harmonization or MEANS OF ARCHITECTURAL COMPOSITION are used.

Rice. 3.3. Types of volumetric-spatial composition:

a - closed; b - centric; c - basilical;

g - compact; d - open

UNITY and COMPLIANCE. Here subordination should be understood as a form of expression of the unity of a complex composition (Fig. 3.4).

SYMMETRY - identical arrangement of equal parts relative to the axis, DISSYMMETRY - partial violation of symmetry, ASYMMETRY - lack of symmetry in the connection of harmonies of artistic unity (Fig. 3.5).

Rice. H.4. Hierarchical construction of a system of major and minor compositional axes

Rice. 3.5. Manifestation of symmetry in architecture:

a - symmetry;

b - dissymmetry;

c - asymmetry

RHYTHM - a natural alternation of identical or one-character elements and intervals. The following types of rhythm are possible (Fig. 3.6):

The simplest is alternating one element at regular intervals; metric - alternating several elements at equal intervals;

Rhythmic - alternating several elements at various intervals.

The main task when choosing a rhythm is to avoid monotony of perception, which can be achieved, for example, by using complex types of rhythm or breaking the rhythm.

Rice. 3.6. Rhythm in architecture:

a - the simplest; b - metric; c - rhythmic

TECTONICS is the artistic expression of the structural and material basis of a building. The tectonic structural form acquires artistic expressiveness, becoming an architectural form (Fig. 3.7).

Rice. 3.7. Tectonic structural forms:

a - wall; b - frame (post-beam);

c - spatial rod; d- hanging (cable-stayed);

d - barrel; e-vaulted (shell)

Tectonic forms can have different characteristics, often completely different, depending on the material or construction technology. For example, the tectonics of modern frame buildings differs from the forms of ancient buildings of the post-and-beam structural system, and stone or brick vaults have a different tectonic expression than modern thin-walled shell vaults.

Thus, in architecture, the concept of tectonics means the plastic construction of the form of a structure in accordance with its structural essence.

PROPORTIONS - a natural relationship between the geometric dimensions of a building and its elements. Successfully found proportions are one of the essential factors determining the artistic value of an architectural object. The best known is proportioning using the “golden section” method (Fig. 3.8):

AC/CB=AB/AC = 1 /0.618 = 1.618 = F

Rice. 3.8. Methods of proportioning using the "golden ratio" method

Any other division of segment AB does not give relations that form a proportion.

The “golden ratio” series consists of the following numbers:

1; 1.618; 2.618; 4.326; ...; F k

The prevalence of the “golden section” proportion in architecture is explained by the fact that it expresses many properties of structural mechanics and corresponds to the laws of human visual perception. One of the properties of the “golden ratio” is the minimum number of different ratios when dividing segments, which corresponds to the principle of “economy of perception,” which gives a sense of aesthetic value.

The presence of proportions in the image of an architectural object can be determined by identifying similar figures. For example, the similarity of rectangles, as is known, will be proven if the parallelism or perpendicularity of their diagonals is revealed (Fig. 3.9).

Proportions are of great importance in architectural composition. The simpler the volumetric structure of a building, the fewer decorative elements it has, the more clearly its proportions are visible and assessed and the more important they acquire in the overall composition of the structure.

ARCHITECTURAL SCALE is a characteristic of the size of the divisions of the form of an architectural object in relation to its overall dimensions. An architectural object can be large-scale or small-scale.

Rice. 3.9. Identifying proportions in an architectural object

A large-scale object is characterized by a more generalized architectural form. It is distinguished by large divisions or a small number of divisions, with more generalized and large details. Using a large scale, you can give monumentality to an architectural object that is small in absolute size (Fig. 3.10, a).

Small-scale objects have a fractional nature of individual parts and divisions, smaller details (Fig. 3.10, b).

The scale of construction is different for buildings for different purposes. Small scale is characteristic of buildings with a large number of small rooms of low height and a large number of small windows located frequently. The large dimensions of the internal spaces and the free arrangement of large light openings determine the larger scale of the buildings. However, this provision is not an immutable rule.

Rice. 3.10. Types of architectural scale: a - large; b - small

SCALE - the proportionality of the divisions of the form of an architectural object to the dimensions of a person. The scale of divisions allows a person to more easily adapt to an artificially created environment. To check the scale of the designed object, it is customary to depict a human figure in the drawing of a facade or perspective in the scale of the image, which immediately makes clear the order of scale of the architectural composition.

It should be noted that in addition to the qualitative ideas that are included in the concepts of “large-scale” and “non-scale”, in architectural practice scale is often deliberately violated in order to identify certain architectural qualities. This practice is known both from individual architectural monuments and from entire periods in the history of architecture.

Questions for self-control

> Define the term “architectural composition”.

> List the principles of architectural composition.

> List the types of volumetric-spatial composition.

> Unity and subordination.

> The manifestation of symmetry in architecture.

> Rhythm in architecture and its types.

> Define the term "tectonics".

> Define the term "proportions".

> Define the term "architectural scale".

> Define the term "scale".