March 2018


«Architecton: proceedings of higher education» № 41 March 2013

Theory of architecture

Vlasov Victor G.

DSc (Art Studies), Professor, Chair of History of West European Art,
Saint-Petersburg State University,
Saint-Petersburg, Russia, e-mail: natlukina@list.ru



In different historical periods, architecture presented with various aspects of its ontology, phenomenology and semantics: as a skilled civil engineering activity, as a way of artistic thinking in images, or as a designer’s method. In this respect, architectural creativity forms the focus of the contemporary morphology of art. Integrating various creative methods, architectural design becomes the centre of interactions between various fields, types and genres of creativity. The article considers issues relating to research into the tendencies of convergence and integration between the traditional architectural methods and contemporary design that emerged in postmodern art in the second half of the 20th century and that are most likely to extend into the 21st century. Examining this problem has important theoretical and methodological implications in the context of interdisciplinary studies on art. Russian researchers tend to believe that the future design culture will consolidate tendencies, methods and techniques of form generation that have been developed separately by science, technology, and art. In order to produce a generalising typology of architect and designer activities it is necessary to consider essential relationships along two basic lines: historical stages in the spiritual experience of architectonic art, and three basic levels of the «thinking in forms» process, i.e. the development of the compositional idea, the «internal form-generation» process, and the projective stage of idea implementation. The article provides an example of such typology.


  1. Gidion, Z. (1984) Space, time, architecture. Moscow: Stroyizdat.
  2. Lebedev, Yu. S. (1977) Architecture and bionics. Moscow: Stroyizdat.
  3. Jencks, Ch. (1985) The language of post-modern architecture. Moscow: Stroyizdat.
  4. Ikonnikov, A.V. (1982) Styling, hi-tech and the semantics of material form. Tekhnicheskaya Estetika, no. 7, pp. 34—37.
  5. Monakhova, L.P. (2011) Stylistic priorities and the culture of daily reality in design thinking in the second half of the 20th century. In: Problemy dizaina-6 (2011) Moscow: The Research Institute of Theory and History of Fine Arts of the Russian Academy of Arts, pp. 56-57.
  6. Bokov, А.V. (2008) On radicalism and conservatism. Project Russia, no. 50.
  7. Aronov, V.R. (2011) Design theory of Tomás Maldonado. From the 20th into the 21st century. In: Problemy dizaina-6. (2011) Moscow: The Research Institute of Theory and History of Fine Arts of the Russian Academy of Arts, pp. 20-23.
  8. Maldonado,T. (1964) Current issues in design. Dekorativnoye Iskusstvo SSSR, no. 7, pp. 18-20.
  9. Aronov, V.R. (1995) Design in 20th Century Culture. Author’s summary of D.Sc. dissertation. Moscow, VNIITE.
  10. Sidorenko, V.F. (1990) Genesis of Design Culture and Aesthetics of Designer’s Creativity. Author’s summary of D.Sc. dissertation. Moscow, VNIITE.
  11. Vityuk, Е.Yu. (2012) Architectural Synergetics: Prerequisites for the Emergence of a New Paradigm. Architecton [e-journal], no. 37. Available at: http://archvuz.ru/2012_1/6  
  12. Panofsky, E. (2009) Essays on Iconology. Saint-Petersburg: Azbuka-klassika.

Key words: architectural design, architectural styles, types of styles, interdisciplinary approach, architectural shaping

Russian text of this article

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