Personality - active , creative, knowing. The subject is not undergoing, not contemplating, but actively transforming with knowledge of principles and methods, owning the methodology of its activities.
Personality and its "inner theater"; the ability to select roles.
Reason and knowledge of "become", "ossified", "dead". Reason and knowledge are “living”, “becoming”, developing. Dialectics of knowledge and creativity. The laws of the dialectic of development. The spiritual principle in knowledge and creativity.
Exemption from mythologism in understanding time. Time as a sequence.
Democracy and aristocracy in art.
“Exemption” of the artist from the external professional system of values and attitudes. The priority of individual experience, individual taste. Customer taste and architecture of choice.
The processes of national identity and the search for the artistic expression of their historical "self".
Artistic culture of the late XVIII-early XIX century. Active interaction of Europe with other regions. Passion for the East.
The process of self-development of the artistic system "style" and the transition of the system to a qualitatively new level of its organization.
The principal change of the artistic system. Instead of style comes eclectic . Eclectic - as a fundamentally new artistic system. Eclectic - as a variety of plastic forms with the unity of meaning. The idea of equality, equivalence, equivalence in the work of different installations. The ideas of the historical and diverse nature of the development of artistic culture (I. Winkelman). The birth of doubt in eternal, unchanging, absolute patterns.
Germany - as the cultural center of Europe. Heine Weimar. Yen.
Aesthetic culture of Germany. The aesthetic views of Kant Fichte, Schelling, Schiller, Hegel, the transition from the culture of the Enlightenment to a new understanding of culture.
" Aesthetic " - the central problem of the German aesthetic classics.
Kant and his aesthetic views. Kant is about the human spirit, which in a free game is capable of creating an aesthetic appearance. Spiritual truth
Kant about geniuses . Creativity of genius and freedom.
Kant about the benefits and beauty. Understanding the dialectical relationship between good and beauty. On the measure and harmony in the relationship of necessity and freedom in creativity, as a holistic process. Necessity, benefit, functionality - from nature; she can only obey. Freedom, the creative spirit of the artist. The artist himself believes the goal of cultural activities. Combine the benefits and beauty, and only ideally can only he who is not lazy.
Kant on the nature of beauty. Categories of "beautiful" and "sublime." A special look at the ratio of content and form in a work of art. The problem of the benefits and beauty of Kant.
"Philosophy of Art" Schelling.
Hegel's great aesthetic heritage: its strengths and weaknesses. Encyclopedic, classification of knowledge. Hegel is one of the founders of the principles of historicism and morphology in assessing the development of the artistic culture of mankind. Hegel on the history of art. Hegel on the place of architecture in the arts system and in society.
Hegel about the relationship of the creator with the spiritual life of his era, the role of worldview in artistic creation.
Hegel developed the concepts of the main aesthetic categories: “beautiful”, “sublime”, “heroic”, “tragic”, “comic”.
Consistency, perfected and style. Its advantages and disadvantages.
Aesthetics of Romanticism (Gelderlin, Schlegel brothers, Novalis, Hoffman, Byron) and its influence on architectural searches.
Personality and the Universe in a romantic interpretation. Alone with himself in front of the universe. Romance of infinity. Infinity is not defined, but free; there are no barriers and obstacles in it. Nebula, uncertainty and freedom.
Aesthetics of nature in romantics. New ideas in landscape architecture.
Interest in the problem of the artist - as a creative person. The aesthetics of romanticism about the absolute freedom of the individual in the works. Every person is an Artist.
Artists - the leaders of humanity.
The aesthetics of romanticism and a new understanding of creativity. Creativity is like self-expression, free and unconstrained self-realization of a creative person. The role of fantasy, imagination, subjective principle in creativity. Liberated, free feelings are the “road” to sincerity in the work. The value of "childish" in the works. The role of romantic irony in the works of inspiration and romantic irony. Irony is “self-parodying” and withdrawing one-sided approaches to the subject of creativity.
The aesthetics of romanticism and the "rehabilitation" of modern art. Attitude of romantics to order, classics, style.
Style - as the unity of building an architectural organism from the overall composition to a single detail. Style - community with clear criteria for determining this community. Style is the uniformity of expressive forms.
Style is a framework, a limitation. There is no strict distinction between genres and types of art.
There is no strict hierarchy in the ratio of types of art. The value of the endless mutual transitions. The concept of "organic" development is like a romantic interpretation of aesthetic integrity. Aesthetic integrity is not violent, not mechanical. The image of the whole is the result of the inner feeling, the spiritual gaze of the artist.
Aesthetic culture of romanticism and the "architecture of choice".
The “failure” of the system from the stylistic principle of the organization of the artistic (architectural) system. The choice is an attractor of creative activity. Mixing different types, elements of different style systems is a consciously preferred method of creativity.
The crisis of stylistic architectural culture. Different reactions to the crisis of style in architecture. Architecture is the “swamp of academicism” (Le Corbusie). Architecture - the pursuit of new technologies, materials, functions; enrichment of semantics of architectural forms. Architectural sign - as an independent problem of creativity. The study of forms of nature to return to the fundamental principles of the architectural language (K.N. Ledoux and E. Boule).
A “clear discrepancy” between function, design and artistry, or the desire for something fundamentally new.
Construction and tectonics as autonomous and self-sufficient areas. The dismemberment of architectural activity into a "utilitarian" - practical structure and "artistic" - a sign-symbolic layer. Their independence from each other. Aesthetic tasks of their coordination (Zemper).
Structural and functional tasks and expressive "clothing" of the architecture of choice. Hirth's ideas about the "closeness" of the columns.
Aesthetic principles of architecture formation (SME) of choice. Aesthetic principles of shaping architecture choices and its expressive techniques.
Destruction of traditional integrity. Overcoming the normative, hierarchy of composition. Refusal to select a center in the composition.
Ignoring inner harmony.
A uniform, monotonous, repetitive rhythm is a sign of democratization, a symbol of the departure from artistic aristocracy in architecture.
The measure is democratic, close to a real, “simple” person.
Artistic expressiveness of the architecture of choice. "Front" artistic expression. Facade as a carrier of the internal meaning of the building. Associativity of the artistic image of architecture. Allegory and allusions in the architecture of choice. Illustrative expressiveness of the architecture of choice. Style prototypes (quotes) and the current context. Orientation to the literary, verbal image. A variety of moods of choice architecture.
A.Krasovsky about three schools of architecture of his time: “classics”, “romantics”, “rationalists”.
Criticism of eclecticism. "Wrong" clothes architecture; literary images (J. Ruskin). The first teachings about material culture, created "according to the laws of beauty" (J. Ruskin, W. Morris).
Aesthetics of the Enlightenment and new ideas in architecture (2nd half of the XVIII - beginning of the XIX century)
The role of the third class in the fight against feudal absolutist regimes. The era of the proclamation of the slogan "Freedom, equality and fraternity" and the formation of new philosophical, ethical and aesthetic ideals in the uncompromising struggle against absolutist power, feudal serfdom, the dogma of classicism in the field of aesthetics and artistic creation. The pragmatic nature of aesthetic thought. Aesthetic and moral, their connection in the aesthetics of the Enlightenment. Enlightenment ideas in England (Burke, Hume, Hoggart, Hutcheson, Shefstbury et al.). Edmund Burke and his concept of the categories of "beautiful" and "sublime." Denis Diderot on the nature of beauty, the principles of realism, nationality, cognitive and educational functions of art ("Treatise on the Beautiful", "Salons"). The problem of aesthetic taste. Place of taste in the activities of the artist, the architect. Lessing and the first attempts at classifying types of art (“Laocoon or about the limits of painting and poetry”). Overcoming the canons of classicism in architecture (KN Leroux, EL Bulle).
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