March 2018


«Architecton: proceedings of higher education» № 35 September 2011

Theory of architecture

Volichenko Olga V.

PhD (Architecture) Associate Professor, Department of Architecture,
Kyrgyz State University of Civil Engineering, Transport and Architecture,
Bishkek, Kyrgyzstan


Since its origin, architecture has been an art of embodying the perfect forms of Nature. Throughout the history of civilization, the architect has been trying to unravel the mystery and the secret harmony of the world and to comprehend its laws, aspiring to implement them in his products. Contemporary architecture has surprised us with an unexpected approach to the eternal theme by opening up the forgotten old in its aspiration to understand and materialise the secrets of nature. Today we are reviewing internal (rather than external), continuously changing and transforming structures that form the basis of natural creations.

Up until now it was possible to distinguish between two basic forms of imitation of nature: abstract (including cosmological, constructive tectonic or organizational contents) and sensorial/visual. Now we are attracted to the invisible, hidden and previously inaccessible aspects of natural life. Architects are drawn to the pulsating energy of the constantly changing, dynamic and spontaneous existence rather than to the surface of natural things. New ideals of beauty are emerging, based on constant transformation and modification, and on a combination of ephemerality, fluidity and dynamics. The standard of beauty is changing, being replaced by the trace of movement, the bend, the fracture. The prevalence of curvilinear surfaces over rectilinear ones in the 21st century architecture is a sign of dissatisfaction with the fact that architecture is not capable of giving what the individual needs for his/her soul today.

Contemporary architecture is trying to take on and, at the same time, fails to take on the mission of imitating and fully decoding the complex and contradictory mysteries of nature. Today architects give other answers to the same eternal question of human habitat, and their approach is cardinally different from that of the previous epochs. However, the attitude to natural forms as a factor generating and accumulating the energy of architectural form generation remains invariable. Natural form is the ideal for creativity. The ultimate goal of art is to recreate natural life, which is ever desired but unachievable – the secret of nature is not reproducible. Evolution demonstrates that these multiple imitations of natural forms constitute the ‘spiritual’ part of the language of architecture.

Russian text of this article

ISSN 1990-4126  Registration MCM el. № ФС 77-70832 of 30.08.2017 © USUAA, 2004-2017  © Architecton, 2004-2017