June 2018


«Architecton: proceedings of higher education» № 53 March 2016

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 this article, the author revisits the well-known definition of architecture as «frozen music». Any architectural object exists in three-dimensional space and is perceived in time and motion forming a specific moving, or motor, conceptual space. It would therefore be more logical to call an architectural object a «moving melody» rather than «frozen music». However, architectural plasticity is not expressive in the usual sense of the word, being counterbalanced by gravity, i.e. the requirements of stability, strength, and reliability. The author regards any departure from this rule, abandonment of tectonicity, a display of naturalistic thinking.

Key words: architectonics, harmony, composition, plastic motion, space, form generation


1. Galeyev, B. M. (2000). About romantic synesthesia "Music — Architecture": From Schelling to Goethe and on without stops. Tver: TGU, vol.3, pp. 90—96 (in Russian)

2. Nekrasov, A. I. (1994). Theory of Architecture. Moscow: Stroyisdat, pp. 41—42 (in Russian)

3. Mandelshtam, O. E. (1923). Notre Dame. In: The Stone. Moscow, p. 9 (in Russian)

4. Mikhailov, A. V. (1985). Architecture as Frozen Music. Moscow: Nauka, pp. 233—239 (in Russian)

5. Goethe, J. W. (1980). Maxims and Reflections. Moscow: Chudozhestvennaya Literatura, Vol. 10, p. 430 (in Russian)

6. Schelling, F. W. (1966). Philosophy of Art. Moscow: Mysl (in Russian)

7. Syrkina, F. Y. (1974). The Life and Creation of Pietro di Gottardo Gonzaga. Moscow: Iskusstvo, pp. 90, 101 (in Russian)

8. Kluyev, A. (2000). Music as a Model of the Universe. Saint-Petersburg: Mysl, vol. 4, pp. 134—144 (in Russian) 9. Losev, A. F. (1960). Antique Musical Aesthetics. Moscow: Muzgiz, p. 44 (in Russian)

10. Vipper, B. R. (1970). Articles about Art. Moscow: Iskusstvo, pp. 355—357 (in Russian)

11. Musical Aesthetics of France (1974). Moscow: Musyka, p. 252 (in Russian)

12. Masters of Architecture on Architecture (1972). Moscow: Gosstroyizdat, p. 254 (in Russian)

13. Norberg-Schulz, Chr. (1971). Existence, Space and Architecture. New–York, p. 17.

14. Jencks, Ch., Eisenman, P. (1999). Conversations. In: The Architecture of the World, vol. 4, p. 89 (in Russian)

15. Deleuze, G. (1997). The Fold. Leibniz and the Baroque. Moscow: Logos (in Russian)

16. Tacitus, C. (1993). The Works in 2 Volumes. Moscow: Ladomir, vol. 1, p. 5 (in Russian)

17. Kaminskaya, N. (2010). The Master of Destruction. In: The Power of Money, vol. 9 (256) (in Russian)

18. Khalaminsky, Yu. Ya. (1964). Vladimir Andreevich Favorsky. Moscow: Iskusstvo, pp. 101, 105, 106 (in Russian)

19. Hildebrand, A. (1991). The Problem of Form in Fine Arts and Collection of Articles. Moscow: MPI, pp. 195–196 (in Russian)

Russian text of this article

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