Architecture "modern" - a farewell to the classics.

The end of the XIX - the beginning of the XX century - the time of an alarming world perception of the crisis of culture. Awareness of the crisis of the system of European values. The turn of the century . (“The Decline of Europe” by O. Spengler, “The New Middle Ages” by N. Berdyaev, “The Rise of the Masses” by H.Ortegi e Gasset, “Farewell to the Old History” by A. Weber, “The End of the New Time” by R.Guardini and others) . The catastrophes of the world as the prologue of the transfiguration of the universe and man.

Wishes to transform life .

Cultural Environment - the beginning of the transition to a new value system. The rejection of the traditional, classical worldview. Time of disappointment and new hopes. Great discoveries in science and confusion. "Matter has disappeared."

Problem of choice.

Formation of the "new picture of the world"; New ideas about space , time, about matter. Lobachevsky-Gauss space. Space as a set (physical, mathematical, physiological, psychological, perceptual). The space is subjective, value perceived.

New attitude to time. Eternity loses its value. Eternity is a sign of a spiritless entity. The search for a way to connect time and eternity.

"Matter disappeared" and the freedom of artistic shaping, shaping.

Explicit and conscious opposition of past and present in the name of the future. The problem of tradition and innovation in the new reading. The intrinsic value of novelty, opposed to tradition.

Modern - new attitude. “Modern” is like a utopia, a dream, a flight of imagination.

New style life in the artistic life: unity in spiritual aspirations and “each in itself” in professional creativity.

Aesthetic culture of "farewell" with the classics. Ideas "philosophy of culture."

F.Nietzsche about art as a volitional act of transforming formless reality. The special significance and value of the individuality of the creative personality.

A. Bergson about intuitive knowledge - a tool, a tool for overcoming the mechanistic one-sidedness of intelligence. Intuitive impulses in creativity.

A special place of Russian culture. The Silver Age and new perspectives of world culture.

Vl. Solov'ev on the nature of the aesthetic as "the fusion of truth, goodness and beauty in the world" ("Beauty in nature"). ON. Berdyaev is one of the pioneers of the idea of ​​“god-making” (theurgy). Art as the embodiment of the divine idea, as “going out of this world”, images of the phenomena of reality only “in the light of the future world”. Reflections "The general meaning of art." The ideas of "superman" and "divine-human" creativity ("The Idea of ​​Superman").

P.A. Florensky and the "philosophy of cosmism and all-unity".

The category of "beauty" as a manifestation of the "Christian ideal" in artistic creativity ("The Pillar and Statement of Truth. The Experience of Orthodox Theodicy"). P.A. Florensky about the creative principles of "god-making" (theurgy).

The aesthetics of Russian artistic symbolism of the late XIX and early XX centuries (A. Bely, Vyach. Ivanov, A. Scriabin, A. Blok). The influence of the ideas of the Silver Age on the architecture of "modern".

Standardization of the aesthetic principles of shaping in art. Integrity - as standard, pattern.

Unification of means and methods of artistic expression of "classicism". Critically negative reaction to the standard and templates. Collective manifesto February 11, 1910. Milan. Umberto Boccioni, Carlo Carr, Luigi Russolo, Giacomo Balla, Gikeo Severini. Theoretical understanding of style in the history of art (Wolfin, Wrigl and others). Style and stylization.

Modern - the answer to the "challenge" of time, "the spirit of the era." Modern is an attempt to return to style.

A new era in the history of architecture. Registration of new architectural patterns. Architectural design as a novelty of principle. Lack of prototypes in architectural creativity. The idea is beyond the "contact", "trends" of historical styles. The architecture of "modern" about the new understanding of space. The architectural image of time in "modern". New accents of the architectural image in the value of eternity and time. A new view of matter and mastery of the material architecture in modernity.

Updating the architectural method.

Principal subjectivity of the architectural form . "Work" aesthetic principles of shaping in the new mode.

"Wrongness" of the modern architecture of the modern architecture.

Composition - integrity: volumetric, “incorrect”, complex, open, essentially incomplete, free, asymmetric. Wrong, curvilinear composition and feasibility, increased comfort.

Harmony of complex dissonance. New harmony of profiles and volumes (Antonio Sant'Elia).

Rhythm: unsteady, complex, pulsating, agile, irregular, elemental, stumbling, scattering, gathering, and so on. The elusive rhythm is like a likeness to nature.

Measure - from nature. Measure as quality.

Artistic expressiveness of modern architecture. Language of metaphors, symbols, mythological allegories

Upgrade architectural language tools . Dynamism, solidity, fused architectural volumes. "Wrong" plans in the architecture of "modern". The multi-facade spatial forms of the architecture "modern". The fundamental complexity of the artistic image of modern architecture.

Multi-angle art image of architecture. Image as a set of impressions. Image - review, revu.

Artistic image of modern architecture and symbol. The symbol is a means of comprehending and realizing the whole being. Symbol as a formula for harmonizing the old and the new, eternity and time, spiritual and material.

The building - as a collection of works of all spatial arts, united by architecture. The origin of the design .

Constructive and ornamental in "modern".

Stylistic version of "modern".

The architecture of the XX century to the 60s: utopia and reality. Aesthetic and artistic features of architecture until the 60s of the XX century (Soviet avant-garde, "Stalin's Empire", etc.).