What is architectonics? Architectonics is an important component of the surrounding world.

The concept of " architectonics» ( from the Greek – building art) V general view includes unity artistic expression regularities of the structure, the ratio of load and support inherent in the structural system.

In a broad sense, architectonics is the compositional structure of any work of art, which determines the ratio of its main and secondary elements. The quality of the architectonics of a thing depends on four main characteristics: the perfection of the content itself, the perfection of the form, the relationship between form and content, and the aesthetics of the form. The main pattern of architectonics is the comprehensive unity of form and content. Architectonics is revealed in the distribution of masses, in the rhythmic structure of forms, in proportions, and partly in the color structure of the work. The architectonic connection of the elements of the form is the main means of expression.

Long-span coatings of industrial buildings using structures of various tectonic systems.
from book " Architectural design» V.N.Tkacheva

TECTONICS IN DESIGN- an indirect representation of the patterns of its functional and constructive solution fixed in the form of a design object, a kind of “image” of the tension of the state of a certain integrity, illustrating the logic and stability of its constructive, functional or visual structure.

The tectonic features of design objects are determined by two groups of circumstances: the objective features of the functional and technical layout of the object (principles of the technical solution, its efficiency, novelty, rationality of structures, etc.) and the focus of visual proposals (compositional structure, color scheme, expressiveness of form, etc.). ). Both sets of circumstances common decision can act together, come into conflict, even deny each other - on which they will depend final result efforts on the tectonic organization of the design object and its aesthetic expressiveness.

The art of design design is a synthesis of three principles: expression in the form of a product of the work of material and structures; reflections in creative method the author of cultural and historical ideas about the expressiveness of the "language" of tectonic forms; understanding of T. as a symbol of the integrity of the form of the product (since it is the tectonic image that is the most important tool for the formation of this quality).

Structural and tectonic industrial forms: o - dependence of the structure on the layout of the working mechanism and material, the structure is static and dynamic; b- tectonics of metal, plastic, wood products

TECTONIC EXPRESSION in design design - the formation of an emotional-figurative representation of subject and spatial complexes by means of tectonics.

T.v. in design is achieved in two alternative ways:

Direct use of technical and structural components of products or their complexes as carriers of tectonic images;

Direct oblivion of constructive-functional structures, when the tectonic theme is played out by additional "pictorial" and constructive means: a casing around a functional mechanism, decorative overlays, etc.

The foregoing defines two groups of strategies of tectonic shaping (according to Yu.V. Nazarov): “expressive” (demonstration of the principles of distribution of functional loads, structural or technological device in the features of the product form) and “pictorial” (including “imitation” of other active tectonic structures, "camouflage" - their illusory, decorative reproduction, "stylization" - reproduction of common cultural patterns this class products). But if the first group of strategies is considered leading in design, then the second, for a long time which was under fire of criticism, is only just gaining the right to official recognition, which is largely due to the development of new trends in design formation [art design, freestyle, etc.].

Technology Achievement T.V. are greatly complicated by the qualitative diversity of basic tectonic structures - from static to mobile, moving and moving.

TECTONIC STRUCTURE- options for the ratio (combination) of "bearing" and "carried", ("active" and "passive", moving and resting, etc.) elements of the design object, expressing the specific connections of these combinations with the complex parameters of the object (total mass, volume-spatial indicators). In design I.E. - a kind of foundation for an emotional-sensory impression of the structure of an object.

The triple nature of the forms of implementation of design ideas (planar composition in the works graphic design, volumetric constructions in industrial design objects and spatial - in the environment) determines the nature of the corresponding I.e. In graphic schemes, this is mainly the ratio of color spots, font and line elements, in volumetric - synthesis technical idea(which has its own principles of volumetric organization - axial layouts, combinations of propulsion and moving and resting parts of the mechanism, etc.) and methods of its tectonic display (massive, corpus or openwork formations that have received smooth or "thorny" outlines, color options, comparison of textures, etc.), in environmental systems - spatial combinations of architectural and design components. At the same time, within each of the base

Comparison of tectonic characteristics of design objects of different classes (according to Yu. Somov): a - openwork frame forms; d - massive hull; b, c, d - intermediate options

There are many variations of structural solutions in the outer forms. So, in industrial products, the following types can be named i.e.: frame, shell, monolith, lattice system and, finally, special form- "tectonics of soft materials" (clothes, curtains, sails, etc.).

Artistic content is best illustrated by examples from the tectonic organization of the structural base of architectural structures. Here, this concept refers to the image active forces, a picture of their relationship, while the structure is the relationship of the actual forces holding the building. We can say that I.e. is a display of the connection of opposites in the structure of a given system (balance or dynamics of elements, the tension of their connections, a feeling of lightness or heaviness of the whole, in short - the play of forces within this system).

Options Palette even only in constructive schemes, the environment is infinite: from massive, solid formations to frame, cable-stayed and inflatable. And each carries its own emotional and sensory content, which varies in the widest range - from absolutely stable, "eternal" impressions to ephemeral, momentary, even mystically surreal.

For example, a complex tectonic scheme of an environmental object is obviously a consequence of composition, i.e. subjective, generated by the author's concept of vision of the conflict of forces actually acting here. But it is perceived objectively and is comparable with variations of similar tectonic solutions, and therefore makes it possible to choose the best of them both from the point of view of the author and from the standpoint of the customer.

It is only necessary to remember that at least three systems of its components have tectonic properties in the environment: structural-spatial (architectural), spatial organization of equipment elements (design) and a combination of their joint work in the process of consumption of the environment. And latest system very difficult to understand without analyzing the first two.

But it, as the most free from the strict norms of utilitarian restrictions, is especially favorable for the emergence of original visual and semantic images, the identification of which is the main purpose of tectonic analysis in design.

ABSTRACT

ARCHITECTONICS OF SPACER LARGE SPAN SYSTEMS - CABLE SURFACES

Completed by a student of group 326

Stefan Marina

Checked by Professor Chelnokov A.V.

Dnepropetrovsk

1. What is architectonics?

2. Typology of tectonic systems:

The concept of tectonics

Tectonics of frame structures

Tectonics of vaulted structures

3. Spacer planar structures

4. Types of cable-stayed surfaces

o Coatings with parallel cables

o Coatings with radial cables

o Two-layer roofs with parallel shrouds

o Double belt roofs with radial shrouds

o Hanging trusses and beams

o Combined and suspended systems

o Membrane surfaces

WHAT IS ARCHITECTONICS?

ARCHITECTONICS, (Greek architektonike - "main building" from archi - "main" and tektainomai - "build, erect"). Architectonics - "alignment", meaning in the visual arts compositionality, a clearly perceived integrity as a result of the organization by the artist of the subordination of parts, articulation, accentuation, identification of the plastic connections of the whole and the detail, the main and the secondary, the center and the periphery, the ratios of masses, volume and space. At the level of formal organization, this phenomenon is called tectonics, and the corresponding quality of form is called tectonics. The artistic-figurative integrity created on such a basis - by architectonics and, accordingly, artistic image(composition) - architectonic. Tectonics is a clear expression on the surface of the form of its internal structure (functional structure) through divisions, subdivisions. Architectonics is the same, expressing the artistic and figurative meaning of form, a phenomenon that transforms formal tectonicity into semantic integrity (see also harmony, harmonization; "Dionysian architects"). Such an understanding of architectonics has always been inherent in the masters of classical art, but was lost in the 19th century in the art of academicism, replacing composition with layout, and naturalism, where not only artistic organization, but even formal tectonicity is absent. IN famous book"The Problem of Form in the Fine Arts" (1893) A. Hildebrand (Hildebrand), a German sculptor and theorist, tried to oppose the destructive tendencies of a superficially descriptive and plot-entertaining approach to depicting the norms of the classics, the logic of shaping, the architectonic transformation of a form that is fundamentally different from a simple copying nature. Qualities of architectonicity artwork are achieved by using appropriate materials-means and methods-techniques (see composition). It is clear that the universal laws of architectonics manifest themselves differently in different types, historical types, directions and styles of art. Naturally, the qualities of architectonicity are most fully expressed in architecture. This is also indicated by the relationship of terms. In the art of architecture, the building structure itself inexorably gives rise to the qualities of tectonicity, and in the imagination and skillful hands artist, these qualities are transformed into architectonicity and, ultimately, into architecture as a form artistic creativity. But also in the field of architecture, historically, atectonic styles were formed, for example, Mannerism, Baroque, Rococo, Art Nouveau, neoplasticism, or "organic architecture". The works of art of Classicism are fundamentally architectonic - this is their main compositional property. It manifests itself in all types and varieties of art: in architecture, sculpture, painting, graphics. Thus, the entire history of artistic styles can be viewed as the interaction (and the predominance at certain stages) of two formative principles: tectonic and atectonic. Hence - the architectonic method of shaping; it can be distinguished in comparison with the sculptural, plastic, pictorial and graphic. Predominance of one method or another depending on specific tasks, solved by the artist, determines the character creative process, composition type and, in last turn, the belonging of the result of this process - a work of art - to one or another type of art (see morphology of fine arts). In architecture, the architectonic method presupposes a clear division of the load-bearing and load-bearing parts of a building. The ideal expression of architectonics is an order. But in the art of architecture, the opposite method is also known - stereotomy (from the Greek stereos - "voluminous, dense" and tome - "dissection, cutting"). Tectonic structures are folded, stereotomic ones are "taken out, cut out" from the surrounding space. This opposition corresponds to the two main methods of shaping common to all types of art - form formation (lat. additio) and form subtraction (lat. divisio) and, accordingly, the qualities of sculptural or plastic form (see style). In addition to the all-penetrating principle of architectonicity, which determines the essence of compositional thinking with form in different types of art, the phenomenon of form assimilation, "romance of scales" is also known, when architecture, according to the principle of similarity, is reflected in the composition of "small forms" - products of applied and decorative arts. This phenomenon is called miniaturization, it is characteristic of Gothic art and, in part, Italian Renaissance(see also imaginary). The opposite principle - maximization - is typical of the Baroque style. IN gothic art miniaturization architectural composition produced original products. Such is the furniture made of carved wood - armchairs, the high backs of which repeat the silhouette of a Gothic cathedral. Metal products - architectonic reliquaries, monsterans - were made in the form of miniature Gothic temples. They are simultaneously sacred, architectonic and decorative. Miniature folding altars - diptychs, triptychs and polyptychs made of ivory, gilded bronze or silver, decorated with enamels and precious stones, - also likened to a medieval cathedral, for which they decorated it with turrets with pinnacles, cruciferous flowers, crabs. Even the huge, monumental altars of carved and painted wood set up in the naves catholic cathedrals southern Germany, echo the architectural composition of the cathedral. The feeling of architectonicity (with their saturation with plasticity and color) arises from the fact that the interior of a Gothic temple becomes the exterior of the altar and the architectonics of space determines the shape of everything that is inside. Therefore, we can say that the architectonics of the composition is an indispensable condition for the integrity art space- chord perception, ensemble phenomena, stylistic interaction of components. The formal basis of such integrity is "harmonic resonance" (see proportioning). In the XVII-XIX centuries. the content of the term "architectonics", in contrast to tectonics, plastics, composition and, finally, architecture proper, architecture, was not yet generally accepted. Architectonics was simply called the theory of architecture, the patterns of shaping in this art form, which had its own historical meaning. In antiquity and the Middle Ages, architectonics was called the secret, intimate knowledge of the ancient builders of the brotherhood of "Dionysian architects", later - Masons. The word "architect" had the same hidden meaning.

As already noted, the subject of the study is the architectonics of screen adaptations. literary works. To begin with, it is worth defining the terms - what do we mean by architectonics in this context?

The word "architectonics" came to us from architecture. "Architectonics" (Greek - architektoike) - building art. According to the Explanatory Dictionary of Ushakov, "architectonics:

• 1) the organic combination of parts into one harmonious whole (archit.), the arrangement of parts, the composition of some artistic whole (art.), the architectonics of a novel, a story;
• 2) a department of geology that studies the structure of the earth's crust, the location of its elements (geol.)."

Literary encyclopedic Dictionary tells us that architectonics is "the external construction of a literary construction as a whole, the relationship and correlation of its main constituent parts and elements."

“The concept of A. includes both outer structure works, so the construction of the plot: division of the work into parts, type of storytelling (from the author or on behalf of a special narrator), the role of dialogue, one or another sequence of events (temporary or in violation of the chronological principle), the introduction of various descriptions, author's reasoning and digressions, grouping actors and so on.".

In the scientific community, the concept of architectonics is opposed to composition or considered part of it. As M.S. Kagan in The Mythology of Art, "the advantages of this term are that, firstly, it reveals the underlying form-building principle, the structural dominant artistic language- an aesthetically significant ratio of plastic elements from which an artistic image is built. Such a principle of form organization as architectonics is more universal than the principle of composition, since, "in addition to composition, it expresses the multidimensional structure of the work, emphasizes the complexity and multi-level structure of the object's form, whether it be flat or three-dimensional."

Thus, we deliberately separate the concepts of composition and architectonics in the context of our study. While the composition focuses on the very structure of the work and reveals artistic function reception or element, architectonics focuses on the relationship of structural elements, is the formal technical side of a multi-level work.

What structural elements can we single out in the architectonics of a screen work? There are many of them. These are types of conflicts between characters, timing and types of scenes and episodes (dialogue, action, exposition, landscape, etc.), montages and the presence of dramatic transitions between scenes (“cliffhangers”), “attractive” effects and the emotional tension of the narration in in general, the volume of information received by the viewer, all kinds of audiovisual and technical methods, which we will not dwell on in detail. In this study, we are going to focus our attention on two key elements of architectonics, which determine the power of the impact of a screen work on the audience - these are dramaturgy and montage. As cornerstone the dramatic structure of the work, we will consider the conflicts between the main actors of the work and the so-called. "attractive" effects, which will be discussed below. The main components of editing are the sequence of frames and scenes in a screen work and the connections between them, as well as their duration (timing).

All masters of drama, as one, in their instructions and textbooks agree that the main driving force any story is a conflict. The author of the most famous work on the art of screenwriting, R. McKee, in his “Million Dollar Story” writes: “When main character goes beyond the inciting incident, he enters a world ruled by the law of conflict. This law says: in history, movement occurs only through conflict. By conflict, the maestro understands the fundamental difference between the actors in the worldview, motivation, goals and means to achieve them. These differences are so incompatible that they set the mechanism of the whole story in motion and push it forward, just as steam sets in motion the parts of a steam engine. McKee divides conflicts into three large subgroups: internal, interpersonal and external (extrapersonal). This division has long become a classic. All three types of conflicts correspond to the main types of plot - archplot, mini-plot and anti-plot - affect the genre of the work and form the so-called history triangle (Fig. 1).

Rice. 1.

An extrapersonal conflict arises when the hero collides with phenomena that are not embodied in specific person- these are major social upheavals (wars, revolutions), natural disasters (fires, earthquakes), society, circumstances, fate, evil fate. In its purest form, we observe this kind of conflict in epic works(for example, "Iliad" and "Odyssey" by Homer).

Interpersonal conflicts are massively encountered in the so-called. mini story. The interests of the hero here collide with the interests of other characters, personalities. It can be family quarrels, conflicts in love and friendships, conflicts between a boss and a subordinate, and so on. In its purest form, this type of conflict dictates a certain genre - this is a melodrama.

Finally we have internal conflict when the hero comes into a fight with his "inner demons" - these can be vices, bad memories from childhood, complexes and weaknesses, etc. To some extent, internal conflict can be traced in any serious work of art, but there are genres in which internal conflict is brought to the fore, and all other conflicts remain in the background or are completely absent. For example, when all the action takes place in the hero's brain, even interpersonal conflicts can be perceived as part of the internal. Most often, such techniques are used in the so-called author's cinema (or arthouse).

It is worth noting that this is the most common classification of conflicts, but not the only one. Thus, the playwright and script doctor William Indick divides conflicts according to the principle of their belonging to the main psychotherapeutic teachings of the last century, according to Freud, Jung and other masters of psychoanalysis. He identifies neurotic, normative, archetypal, existential conflict and conflict based on an inferiority complex. However, with certain reservations, this classification also fits into Mackey's theory.

Such a division is typical for any kind of art, which is based on the text - for literature and cinema as well. In this case, we can even talk about some kind of continuity, because initially cinematography developed precisely on the basis of the experience accumulated by literature. Let's say historical novels over time turned into epics, and romance novels- melodrama. In his Theory of Cinema, S.I. Freilich dwells on this in detail and quotes the literary critic M. Bakhtin: “The genre is revived and updated at each new stage in the development of literature and in each individual work this genre. This is the life of the genre. Therefore, the archaic, preserved in the genre, is not dead, but eternally alive, that is, archaic capable of being updated. The genre lives in the present, but always remembers its past, its beginning. Genre - representative of creative memory in progress literary development. That is why the genre is able to ensure the unity and continuity of this development. That is why, for a correct understanding of the genre, it is necessary to rise to its origins.

We will talk in more detail about this very living archaism and the origins of the genre below, analyzing concrete examples adaptations of Russian classics. As noted by the same Robert McKee, "the choice of genre sets clear boundaries for the possible, since the structure of the story must take into account the knowledge and expectations of the audience." And the genre is directly affected by the type of conflict in the work.

Such a word as composition is familiar to every person, regardless of his profession and hobbies. It is found in painting, music, sculpture, interior design and many other areas. But what is architectonics? Is it something more complex, associated with a certain kind of activity, or is it a philosophical concept at all? Let's figure it out.

Terminology

So, architectonics is just the construction of a work of art. It includes the comparison of parts, taking into account their parameters, their harmonious combination, and as a result, the formation of a single whole. As a result, we get a complete and balanced art object, which can be part of painting, sculpture, architecture, music, literature... Anything! It turns out that architectonics and composition are almost identical concepts. The difference between them lies only in the word itself. Architectonics is a more professional word, it is not widely used among people, it is more often used in narrow circles of creators. Composition, on the other hand, is a more common concept, having heard which, everyone will understand what it is about.

Vivid examples

Let's try to consider finished works of art that will allow us to finally understand what architectonics is. These will be paintings, objects of contemporary art and musical works.

So painting. In order for the picture to be complete and complete, the author needs to think over its plot. IN leading role the participants of the picture act - people, animals or nature, or some objects. Then all this is framed in a certain palette - pastel, bright or dark. As a result, we get a holistic work that conveys a certain mood. It works similarly in contemporary art. Art objects are made up of certain shapes, colors and textures. Due to this, the viewer perceives them in a certain way.

Music is a delicate matter

This art is something unique, it has so many different forms and variations and at the same time remains the same. No person can live without music, he chooses his own style or becomes a music lover. But each work, in whatever genre it is written, is a single composition. For example, classical compositions are always clear forms that have their own limits. They consist of size, key, tempo, strokes and shades. All this is combined into parts that form large form, which has the name rondo, sonata or suite. This is the architectonics of the classical work.

Architectonics of volumetric forms

In this case, we are talking about some kind of discipline. Its essence is aimed at teaching a person to model three-dimensional forms from various materials, make them complete and complete, and then combine them into compositions. Within this discipline, you can work with paper, fabric, clay and many other components. The main thing is to understand how objects that have volume fit into the surrounding space and look concise in it.

Modern spheres of being

IN Lately the concept of business architectonics has become relevant. To explain it, it is enough to refer to the original interpretation of the term and dilute it with the corresponding concepts. The essence of such architectonics lies in the fact that a business consists of many parts - personnel, harmonious work bosses, paperwork, accounting, external relations, the atmosphere in the office and much more. From all this, the “composition” of any business consists, so to speak, in whatever area it develops. Architectonics is just as important for business as it is for art or craft. It forms any enterprise or firm, makes it complete, complete and perfect. Properly thought out architectonics is the key to further success and prosperity of any business.

Results

It can be said with full confidence that architectonics is the basis of everything that surrounds us. Objects of art are composed of it, it is present in music, literature, theater and cinema. The principle of the integrity of the composition is necessary even in modeling, in business, in the work of any enterprise or plant. Without him, nothing will exist, starting from the nature of the seas and oceans, space and man, ending with what this man created both in the field of art, science, and in simpler, ordinary, but very important matters.

Architecture (lat. architectura, gr. archi - chief and tektos - build, build) - architecture, the art of designing and building. Architecture creates a materially organized environment that people need for their life, in accordance with the purpose, modern technical capabilities and aesthetic views of society. As a form of art, architecture enters the sphere of spiritual culture, aesthetically shaping the environment of a person, expresses public ideas in artistic images: a person’s ideas about the world, time, greatness, joy, triumph, loneliness and many other feelings. This is probably why they say that architecture is frozen music. The architect cares about the beauty, usefulness and strength of the structures being created, in other words, the aesthetic, constructive and functional qualities in architecture are interconnected. The historical development of society determines the functions and types of structures, technical structural systems, and the artistic structure of architectural structures. in different historical periods a variety of building materials and technologies were used, which significantly affect the creation of architectural structures. The modern level of development of technology, the use of reinforced concrete, glass, plastics and other new materials make it possible to create unusual forms of buildings in the form of a ball, spiral, flower, shell, ear, etc.

In architecture, functional, technical, aesthetic principles are interconnected: utility, strength, beauty. Main means of expression used in architecture - composition, tectonics, plasticity of volumes, scale, rhythm, proportionality, as well as the texture and color of the surfaces of materials, the synthesis of arts, etc. Architectural structures reflect art style era, just like any other art form. Architecture differs from simple construction in its artistic and imaginative side. Architects create an artistically organized space for human life, which is a possible environment for the synthesis of arts. World-famous architectural structures and ensembles are remembered as symbols of countries and cities (the pyramids in Egypt, the Acropolis in Athens, the Colosseum in Rome, the Eiffel Tower in Paris, skyscrapers in Chicago, the Kremlin and Red Square in Moscow, etc.).

Architecture and fashion not only feed on the same ideas, they even use the same professional terms: texture, ornament, sketch, size, image. The issues of a unified approach in setting a creative task and the relationship between the design activities of architects and fashion designers are of interest to art historians of the world and are constantly considered on the pages of various publications. So, for example, in the article "The structure of the body" Alessandra Paudice / Alessandra Paudice ( Vogue No. 3, March 2002, pp. 292-294) quotes Tom Ford: “Both clothes and buildings are the shell in which a person lives.” Architecture is seen as a macrocosm, a living space. Fashion is a microcosm, a second skin that a person can choose for himself. An architectural structure protects a person from the outside world. Clothing helps keep our inner world. The first to compare architecture with clothing was the Roman architect Vitruvius, who lived during the time of Emperor Augustus. In his treatise On Architecture, he wrote: “From the beauty of the naked body, we move on to columns one eighth thick; where a person has legs, the base is at the column. The capital is similar to human head with curls, it is decorated with ornate ornaments, like a wreath of fruits adorns a hairdo. The flutes that trace the body of the column are like falling folds of fabric.

The dialogue between fashion and architecture reached its peak at the end XIX - early XX centuries, during the Art Nouveau, and then Art Deco. The architects of the time - Peter Behrens, Henri van de Velde and Frank Lloyd Wright - experimented with design women's clothing. This was the era simple forms, devoid of building decor with open plans and fluid spaces. This style was reflected in fashion thanks to Paul Poiret. He freed women from the corset, and later dressed in trousers and empire dresses, which gave freedom of movement.

One of the first architects in fashion was Charles James (1906-1978), who introduced quilted satin coats into fashion - the prototype of modern puffy things. Yves Saint Laurent, Thierry Mugler and Azzedine Alaya admitted that it was from him that they learned the architectural approach to clothing. An architect by education, one of the key designers of the 60s, Paco Rabanne is known for his experiments with materials that are atypical for fashion - paper, plastic and metal. Instead of scissors, needles and thread, he used pliers, screwdrivers and hammers. He is more of a builder than a tailor. However, all these non-plastic materials, like fabrics, followed the lines of the body. A graduate of the Politecnico di Milano, Gianfranco Ferre is often compared to the preeminent architect of the early XX century by Frank Lloyd Wright. He has always been famous for his precise volumes and perfect forms, and his famous shirts seem not sewn, but mock-ups from crisp white paper. The architectural past sometimes helps to create not monumental, but very practical and comfortable clothes. The designer of Yugoslav origin Zoran, who dressed Isabella Rossellini, with his minimalism taken to the extreme, resembles the founder of this movement in architecture, John Pawson. He hides from the eyes even such necessary details as buttons, seams and zippers. In the great works of sartorial art, the solemnity of an architectural structure coexists with the evanescence and lightness of fashion. The architects' passion for fashion has been brought to its logical conclusion, clothing design is becoming the main business of their lives, architectural education allows specialists to lead the production of clothing and boldly experiment with new materials (Elena Serebryakova, Irkutsk).

Nowadays, the union of fashion and architecture has grown stronger. Calvin Klein chose the famous minimalist John Pawson to create his boutique in New York. Miuccia Prada entrusted her New York boutique to Rem Koolhaas. Jan Kaplicki and Amanda Livet from Future Systems made a Marni boutique.

In the 90s XX century Jan Kaplicki, who then lived in Prague, tried to design clothes. But the best “clothing” he has created is a streamlined metal case that adorns the new building of the department store. Selfridge's in Birmingham. “We faced the same problem as Paco Rabanne in the 60s,” Kaplicki said. - We had to create a sufficiently flexible coating, because the shape of the building was quite complex. We had to make a case out of small pieces. Many architects are afraid to be influenced by fashion, but unconsciously absorb it. Fashion is too powerful. She is always on the lookout for new forms and materials. This is exactly what traditional architectural approaches lack.” This is a great example of how the experience of a fashion designer can be translated into architectural language. Kaplicky's buildings are always recognizable for their organic architectural forms. For him, living space is not geometric rigidity, but the plasticity of the human body with all its curves.

On fig. 2 pleated peplums and trains of women's dresses in the collection GFF their sinuous outlines looked like balconies Casa Battlo , the famous creation of Antonio Gaudí, whose flowing lines are reminiscent of the soft forms of wildlife.

Rice. 2. Flowing lines of balconies Casa Battlo (1905–1907) architect Antonio Gaudí
reminiscent of the soft forms of wildlife, they are echoed by pleated peplums and trains
in women's dresses from the collection GFF

Embroidery on crinolines from the collection Yohji Yamamoto as if borrowed from the facade of the Renaissance cathedral (Florence, ser. XV century) (Fig. 3). Yohji Yamamoto in the spring-summer 2002 collection almost copies the light and festive design of the facade of the Cathedral of Santa Maria Novella by the Italian architect Leon Battista Alberti. Fine details in the latest collection Gucci similar to the round windows typical of the Italian Middle Ages.

Rice. 3. Embroidery on crinolines from the spring-summer 2002 collection Yohji Yamamoto
as if copied from the facade of the Renaissance Cathedral of Santa Maria Novella architect
Leon Battista Alberti

Many images and rigid geometry of the fashion of the 60s XX centuries echo the well-known architectural structures. The mini dress, created by André Courrège in 1968, is very similar to Villa Savoye in Poissy, France (1928-1929) - a one-story building on stilt legs, built by Le Corbusier. stitched, geometric shape pockets on the Courrège dress model shown in fig. 4, resemble windows, and hats resemble roofs.

Rice. 4. The rigid geometry of the mini dress designed by André Courrège (1968),
recalls Villa Savoye - a one-story building on stilts, built by Le Corbusier
in Poissy, France (1928–1929)

The architect and the costume designer use the same shapes, inspire each other, exchange ideas. On fig. 5 you can compare man-made forms in fashion and architecture. It is not surprising that Pierre Cardin's balaclava (1967) is so similar to the terminal of John F. Kennedy Airport in New York, built in 1956-62 by the American architect Ero Saarinen.

Rice. 5. Man-made forms in fashion and architecture: Pierre Cardin's balaclava (1967)
and New York John F. Kennedy Airport Terminal (1962) by architect Ero Saarinen

The analogy in the decorative-spot articulations of the costume and architectural structures is manifested to a lesser extent. An example is shown in Fig. 6 patchwork kaleidoscope on the dress Christian Lacroix from the autumn-winter collection 2001–2002. and facade of a house in Vienna (1983–1986) by the architect Hundertwasser.

Rice. 6. Patchwork kaleidoscope on the dress Christian Lacroix from the collection
autumn-winter 2001-2002 and on the facade of a house in Vienna (1983-1986) by the architect Hundertwasser

In the Viktor & Rolf collection spring-summer 2002 numerous bows and draperies are reminiscent of the rich and exuberant rococo style. On fig. 7 compares the gigantic perforation and vaulting of the palm greenhouse in the London Botanic Gardens (1870s), architects Desimau Burton and Richard Turner.

Rice. 7. Perforation in the model Viktor & Rolf and vaults of the palm greenhouse in London
Botanical Garden (1870s), architects Desimau Burton and Richard Turner

The connection between clothing and architecture also has deeper roots: both architecture and costume are functionally determined by man. Like the suit architectural structure serves as a means of covering a person, his hearth, family from the effects of bad weather. The principles of organization of architectural masses, lines, form, proportionality of divisions of the building, the manifestation of the properties of materials - not only tectonic, but also textural - are direct carriers of the figurative content, which are then refracted in the lines and divisions of the volumes of the costume, its rhythmic construction, the nature of the use of the material.