№58
June 2017
ISSN
1990-4126

Russian

«Architecton: proceedings of higher education» № 36 December 2011

Theory of architecture


Kapustin Pyotr V.

PhD (Architecture), Associate Professor,
Head of Chair of Architectural Design and Urban Planning,
Voronezh State University of Architecture and Civil Engineering,
Voronezh, Russia

UTOPIA IN THE EVOLUTION OF ARCHITECTURAL DESIGN. "THE LURES OF PAINTING". Part II


Whereas the first way out of "the crisis of the Ideal" was Utopia, the second one was demonstrated by architectural activity. The way chosen by the emerging architectural profession was represented by boosted pictorialism and nearly illusive design graphics.

That move directly catered for the attitude that drawings should be representative, clear and understandable for the object-oriented professional consciousness of the New Age. It is close to the passion for visual illusions of depth and spatiality in architecture and monumental art since the Baroque; it opened a way to a genre architectural creativity that was popular during the New Age– to architectural fantasies and related visionarism.

The destiny of the ideal, thus, proved to be in the hands of an architect/artist whose genius re-creates the ideal by means of its image, creating it as a monad by exposing the essence and pruning the superfluous, that is in the same way as the scientist creates his scientific subjects on the basis of idealisations of empirically observable bodies and phenomena.

During the New Age, the architectural profession was not absorbed in the development of sophisticated thinking techniques and new, more refined and more realistic technologies of objectivization than the first attempts at creative objectivization of the Ideal. Rather, it was improving the means of representation, enhancing graphic skills and gradually getting involved in scientific modelling. However, this profession managed to present those means of representation to history as means of design thinking, that is as ones from the development and cultivation of which it had consciously distanced itself away from.

It took a long time to spot the substitution: it did not stand a chance of being noticed against the background of advances in science and technology and significant contributions of architecture and civil engineering into it, high and seemingly natural pictorialism of the architecture itself, establishment of conventional norms of project presentation and chronic inattention to such things in art and architecture criticism. And, the last but not the least, the essential means of organizing the thinking and corresponding norms of reflection were nevertheless provided to the profession – imputed by the natural science methodology.

Key words: pictorialism of architectural graphics, architectural fantasies, design thinking techniques, means of representation


Russian text of this article

ISSN 1990-4126  Registration MCM el. № ФС 77-50147 of 06.06.2012 © USUAA, 2004-2017  © Architecton, 2004-2017