Architecture as an art form. Architecture and its functions in human life.

1. Architecture as an art form

   Construction is one of the most ancient types of human activity, which means that many millennia ago the foundations of everything were laid. further development architecture. Arriving in any city, we see palaces, town halls, private cottages built in a variety of architectural styles. And it is by these styles that we determine the era of their construction, the socio-economic level of the country, the morals, traditions and customs of a particular people, its culture, history, national and spiritual heredity, even the temperaments and characters of the people of this country.
   Architecture, or architecture, forms the spatial environment for people's life and activities. Individual buildings and their ensembles, squares and avenues, parks and stadiums, towns and entire cities - their beauty can evoke certain feelings and moods in viewers. This is what makes architecture an art - the art of creating buildings and structures according to the laws of beauty. And, like any type of art, architecture is closely related to the life of society, its history, views and ideology. The best architectural buildings and ensembles are remembered as symbols of countries and cities. The whole world knows the ancient Acropolis in Athens, Great Chinese Wall, St. Peter's Cathedral in Rome, Eiffel Tower in Paris. The art of architecture is truly a social art. Even today, it interacts with history in complex ways and is directly integrated into the culture of its time. In a society of mass consumption, private orders, and commercially oriented construction activities, the architect is often very limited in his actions, but he always retains the right to choose the language of architecture, and at all times it has been a difficult search for the path to architecture as a great art and an exact science. It is no coincidence that great civilizations are remembered not only by wars or trade, but, above all, by the architectural monuments they left behind. Therefore, it is worth especially noting the important detail that architecture is also a very accurate barometer of the level of development of civilization, its history, culture and intellectual level different nations, since each country of Russia, France, Germany, Italy, Spain, Greece, Denmark, Poland, Ukraine, India, Japan, China, Egypt has its own face, its own internal national flavor, its own traditions and customs. All this is so impressive, so bright and so uniquely reflected in the architecture of each country, directly in its own history. And the architecture itself is unique business card cities, states, and eras in general.

Architecture and its functions in people's lives.

• art

• 8th grade.

Goals:

• 1.To form an idea of ​​architecture as a special form of fine art. 2.Develop associative-figurative thinking, the ability to highlight the main thing, build analogies. 3. To cultivate moral and aesthetic responsiveness to the beauty in life, an active life position in the consciousness of the past and future.

• Architecture surrounds a person everywhere and throughout his life: it is a home, a place of work, and a place of rest. This is the environment in which a person exists. Architecture is the art of building, and the architect is the main builder.

• Architecture, or architecture, is a system of buildings and structures that form the spatial environment for the life and activities of people. This is the art of designing and constructing buildings and structures so that they meet their practical purpose, are comfortable, durable and beautiful.

• To such properties of architecture as usefulness and strength is added harmony and beauty.

• Architecture creates real space. This is its main feature. If in painting the main thing is color, in graphics it’s line, in sculpture it’s volume, then in architecture it’s space. Space is the language of architecture.

Types of architecture:

• 1.Housing construction (house).

• 2.Public buildings: palace, temple, stadium, theater

• Industrial construction: factory, plant, store, station.

• 4. Decorative architecture: gazebos, fountains, pavilions.

8th grade.

Lesson outline.

LESSON 1

1. Subject: "Introduction to the art of architecture. Architecture and its functions in people's lives"

1. Goals:

1. To form an idea of ​​architecture as a special type of fine art, which is considered only in connection with other types of fine art.

2. Develop associative-figurative thinking, the ability to highlight the main thing, and build analogies.

H. To cultivate moral and aesthetic responsiveness to the beauty in life, active life position in awareness of the past and future.

1. Equipment and materials: posters and reproductions depicting types of architecture; presentation “Great Wonders of the World. Great works of architecture" (review, 2 minutes);art materials: pencil, eraser, A4 sheet.
   

LESSON PLAN

1. A conversation about architecture as a special type of fine art, its types and place in human life.

2. Staging artistic task.

Z. Practical implementation tasks.

4. Summing up the lesson.

Write on the board:

1. architecture.
2. painting.
3. graphic arts.
4. sculpture.

During the classes

Presentation “Great works of architecture” (review).

Architecture is the same chronicle of the world:

she speaks when the songs are silent,

and legends and when there’s nothing left

does not talk about the lost people...
N.V. Gogol

1. Architecture (architecture) -is a system of buildings and structures that form the spatial environment for people’s life and activities. This is the art of designing and constructing buildings and structures so that they meet their practical purpose, are comfortable, durable and beautiful.
2. Vitruvius – ancient architectural theorist - calledits three main properties:

Benefit - function

Durability - design

Beauty is form

1. Space - the language of architecture (in painting - color, in graphics - line, in sculpture - volume).

1. Working with the board.

Write on the board:

1. architecture.
2. painting.
3. graphic arts. What is their connection
4. sculpture. connection with architecture?

(Students talk about the design of the interiors of various buildings, decoration of facades, streets, squares, parks, etc..)

1. Types of architecture:

1. Housing construction ( house ).
2. Public buildings (palace, temple, stadium, theater).
3. Industrial engineering (factory, factory, shop, station, hydroelectric power station) .
4. Decorative architecture (gazebos, fountains, pavilions).

(Demonstration of types of architecture).

1. Practical task.

Class divided into 4 groups, each of which will complete a sketchbuildings of a certain type (houses, palaces, fountains, etc.)

Goals:

1. To form an idea of ​​architecture as a special type of fine art, which is considered only in connection with other types of fine art.

2. Develop associative-figurative thinking, the ability to highlight the main thing, and build analogies.

3. To cultivate moral and aesthetic responsiveness to the beauty in life, an active life position in awareness of the past and future.

Equipment and materials: posters and reproductions depicting types of architecture; diagram-table “Types of architecture”; art materials.

LESSON PLAN

1. A conversation about architecture as a special type of fine art, its types and place in human life.

4. Summing up the lesson.

During the classes

Architecture is the same chronicle of the world: it speaks when both songs and legends are silent and when it no longer says anything about the lost people...

N.V. Gogol

Teacher. Guys! This year we are finishing our Fine Arts course. And this year will be devoted, as you understand, to the study of architecture.

Architecture surrounds a person everywhere and throughout his life: it is a home, a place of work, and a place of rest. This is the environment in which a person exists. This artificially created environment is opposed to nature.

Architect. Architecture. Familiar words. Every day we hear them and pronounce them. Where were they born? Where did you come to us from? In ancient Greek, the word “archi” means “elder” and “tekt” means “builder”. From these words a third was born: “architecton” - the head of construction work. The ancients remade it into “architect”. And buildings erected according to the plans of the architect began to be called architecture, that is, architecture is the art of building, and the architect is the main builder. In Ancient Rus', skilled builders were called architects. In Russia, these words appeared only under Peter I, less than 300 years ago. And before that they said: “master of chamber affairs,” “masonry,” “carpentry.”

Now listen modern definition architecture concepts.

Architecture, or architecture is a system of buildings and structures that form the spatial environment for people’s life and activities. This is the art of designing and constructing buildings and structures so that they meet their practical purpose, are comfortable, durable and beautiful.

Architecture satisfies the practical needs of man, it is utilitarian and therefore should, first of all, be comfortable. But is any building that meets the amenities a work of architecture? Le Corbusier said: “The role of construction is to erect a structure, the role of architecture is to cause aesthetic excitement...” To such properties of architecture as usefulness and strength are added harmony and beauty. Vitruvius, an ancient architectural theorist, named three main properties of architecture: usefulness, strength, beauty.

Benefit - function Durability - design Beauty - form

Therefore, architecture (but not construction) solves construction problems artistically, and not just functionally.

Architecture stands apart from other forms of art. She is directly involved in the formation subject environment. She herself is a particle of reality. “Architecture is not a fine art, but a creative one; it does not depict objects, but creates them” (Burov). Architecture creates real space. This is her main feature. If in painting the main thing is color, in graphics - line, in sculpture - volume, then in architecture - space. Space is the language of architecture.

Architecture is considered in connection with other types of fine arts.

Let's list what types of fine art we know?

Write on the board:

1. Architecture.

2. Painting.

3. Graphics.

4. Sculpture.

5. DPI (decorative and applied arts).

Students talk about the design of the interiors of various buildings, decorating facades, streets, squares, parks, etc.

By functional significance It is customary to distinguish the following types of architecture:

1. Housing construction (house).

2. Public buildings (palace, temple, stadium, theater).

3. Industrial construction (factory, plant, store, station, hydroelectric power station).

4. Decorative architecture (gazebos, fountains, pavilions). (On the board there are reproductions of various types of architectural structures.)

Teacher. And now I suggest you divide into 4 groups, each of which will make a sketch of a building of a certain type of architecture. At the end of the lesson we will hold an exhibition of your work. You will immediately choose a name for it (“Houses”, “Palaces”, “Fountains”, etc.) and the theme of your work.

At the end of the lesson, thematic exhibitions of works are organized on the tables.

Lesson 2

ORIGINS OF ARCHITECTURE. FIRST ELEMENTS OF ARCHITECTURE

Goals:

1. Introduce students to the history of architecture.

2. Form an idea of ​​the monuments of the megalithic period, their types, and functional features.

3. Develop associative-figurative thinking, the ability to highlight the main thing, and build analogies.

4. To develop a moral and aesthetic perception of the world around us, the ability to listen, generalize, and draw conclusions.

Equipment and materials: reproductions of ancient architectural monuments; video film “Great Wonders of the World, Stonehenge. Salisbury Plain. England"; Literary series: “Great mysteries. Myths of antiquity. Standing Stones" (Wyland - Volgograd, 1995); art materials.

LESSON PLAN

1. Conversation about the origins of architecture and construction art. Acquaintance with the monuments of the megalithic period.

3. Practical completion of the task.

4. Summing up the lesson and reporting homework.

During the classes

The origins of architecture and the art of construction of mankind begin from the time when ancient people, not content with shelters created by nature (caves, grottoes), began to build artificial residential structures. This was due to sudden climate change - the onset ice age. The warm climate of the Early Paleolithic made it possible not to worry about clothing and housing at all.

When did the first residential building appear? What did it look like and who built it?

Of course, the first home caveman there was a cave shelter created by nature. But Stone Age people lived not only in caves. Indeed, in many places where remains were found

primitive man, there are no caves. But there is evidence that our ancient ancestors knew how to build homes for themselves!

At the beginning of the 20th century, near the city of Chernigov, scientists discovered large piles of animal bones. It turned out that the skulls, bones and tusks of mammoths served as a kind of frame for a Stone Age dwelling and were building materials for brave hunters. Later, based on the location of the skulls and bones, it was possible to restore the original structure of the structure.

“From the skulls of mammoths, with their foreheads turned inward, they laid out the “basement” of the future dwelling - a slightly protruding ground part of the structure. Wooden arcs were installed inside the resulting circle. Pieces 25-30. At the top, in the center, where they crossed, they were tightly tied with veins. The result was a dome, a vault. (It will then be forgotten for a long time and only the ancient Romans will rediscover it. Well, how can you not remember the saying: everything new is well forgotten old.) The lower ends of the wooden arches rested on mammoth skulls, buried halfway into the ground. The skins of bison, mammoths, and horses were thrown onto the arches. They were pressed from above with tusks and deer antlers. But here’s what’s interesting: the heavy roof pressed mainly not on thin wooden arches, but on a powerful bone plinth. (And this way to relieve the pressure of a heavy ceiling will also be forgotten and then remembered many thousands of years later.) Two large curved tusks were strengthened on the sides of the future door. At the top they were connected with a coupling made of tubular bone to form an arch. (Such an arch will only be used in Ancient Rome.)

The door was covered with skin, and the house was finally ready. Durable, warm, able, thanks to its shape, to withstand any snowfall, any hurricane wind. It is no coincidence that to this day houses, like half a ball, are built by shepherds in the mountains and deserts, reindeer herders and hunters in the Far North.”

(Yu. Ovsyannikov)

At the very end of the Neolithic and in the Bronze Age, fortified settlements began to appear - fortifications, which became widespread at the beginning of the Iron Age, since wars were a fairly common occurrence in the life of that time. Earthen mounds also appear - mounds where rich dead were buried. Many burials were preserved because they were located in swampy soil.

In the Bronze Age, structures made of huge stones, the so-called megaliths (from the Greek “megos” - large and “cast” - stone), reached their highest development. Written evidence of the purpose of the megalithic structures has not been preserved, and scientists have come to the conclusion that they were used for religious ceremonies and as observatories. These structures are usually associated with the cult of honoring the ancestors of fire or the sun. Megalithic structures are found everywhere from Scandinavia to Algeria and from Portugal to China. Apparently, they served as an expression of ideas common to all people of this era. This may be a desire to materialize the meaning of the human personality, to preserve its memory for posterity. It is no coincidence that these stones were enormous in size and weight.

Student reports about ancient architectural monuments.

(Students say:

About dolmens in Maykop. North Caucasus;

About statues - menhirs in France;

Dolmen from Escher. Abkhazian Museum of Ethnography, etc.)

There are three types of megalithic buildings:

1. Menhirs - vertically placed stones of various sizes, standing alone or forming long alleys. The sizes of menhirs range from 1 to 20 meters. Menhirs can be either barely hewn stones or made in the form of monumental sculpture. They, as a rule, were not associated with burials and performed an independent function (for example, they marked the location of any rituals).

2. Dolmens are structures made of two vertically placed raw stones, covered with a third. The design of these structures already contains load-bearing and non-supporting parts. The most perfect type of dolmen consists of four well-hewn vertical slabs, forming

quadrangle plan and covered with a horizontal slab. Apparently, these structures served as a marker for a burial site or as an altar.

3. Cromlechs - stone slabs or pillars placed in a circle. These are the most difficult megalithic structures. Sometimes cromlechs surrounded the mound, sometimes they existed independently and consisted of several concentric circles. The most famous and complex of the cromlechs is located in England, near Stonehenge (from the English “stone” - stone, “hand” - ditch). Scientists have not yet fully figured out how Stonehenge came to be. Around 2800 BC e. a deep ditch was dug and a shaft was poured, and holes were placed in a circle inside it. A hundred years later two circles of "blue stones" were added, possibly from Wales. Around 1600 BC e. they were replaced by a circle of vertically dug stones (“ram’s foreheads”), and in the center of this circle there are even larger stones. Thus, Stonehenge is a series of almost exact circles with a common center, along which huge stones are placed at regular intervals. Appearance The stones have a diameter of about 100 m. Their arrangement is symmetrically directed towards the point of sunrise and sunset on the days summer solstice. Undoubtedly, Stonehenge served both for astronomical observations and for performing some rituals of a cult nature, since in those distant times the heavenly bodies were attributed divine significance.

The central circle of Stonehenge can be seen through the main entrance (the stone monument is surrounded by a moat and embankment).

Teacher. So, we got acquainted with the origins of architecture. Of course, these buildings do not allow us to talk about style yet primitive architecture, but it was then that the first aesthetic ideas of man began to take shape, who contrasted nature with the creations of his hands.

Setting an artistic task.

Exercise. Sketch the monuments of the megalithic period. Use reproductions on the board and materials from your search work.

At the end of the lesson you can organize an exhibition best works"Megalithic structures."

Student works:

Homework: select material depicting various monuments and their locations.

Lessons 3-4

LOCATION OF THE MONUMENT AND ITS SIGNIFICANCE.

EXECUTION OF SKETCH PROJECT

MONUMENT OF GLORY

Goals:

1. To form an idea of ​​the importance of choosing a location during the construction of an architectural monument that corresponds to its artistic appearance, as well as its function.

2. To cultivate a moral and aesthetic perception of the world, a love of art and creativity.

3. Develop skills in working with art materials and creative imagination.

4. Cultivate accuracy and the ability to work in small groups.

Equipment and materials: reproductions and art historical material about ancient and modern monuments; art materials for sketching and prototyping.

LESSON PLAN Lesson 3

1. A conversation about the importance of choosing a location when constructing a monument with a demonstration of reproductions of architectural structures from different eras.

2. Statement of an artistic task.

3. Practical completion of the task.

4. Summing up, analysis of work.

Lesson 4

1. Collective work to complete a sketch of the monument to Glory.

2. Summing up, exhibition and analysis of works.

Lesson progress 3

Great importance When constructing an architectural monument, a choice of location is appropriate that corresponds to its artistic appearance, as well as its function.

The famous modern architect Le Corbusier (1887-1965) said:

“Terrain is the initial basis of any architectural composition.

Architecture is inextricably linked with the landscape. The man managed to penetrate the spirit of the area and express it in architecture. An example of this is the Parthenon and the Acropolis in combination with Piraeus and the islands...

The structure you create calls to complement and decorate the landscape, but on the other hand, the building must absorb the landscape into itself, make it part of it.”

Masters of architecture about architecture. -M., 1972. - P. 251-252.

Teacher. At home you have collected materials about famous architectural structures, landmarks, monuments. Let's see how they fit into the natural landscape around them.

(Students introduce each other to the results of the search work.)

Setting an artistic task.

Exercise. Using the knowledge gained and materials from search work, complete a sketch design of the Glory Monument, then complete the landscape surrounding this monument.

At the end of the lesson there is an exhibition and analysis of the works. From the submitted works, the 2 best are selected for collective work (layout). It is advisable to choose different options for organizing the environment.

Homework: bring the art materials necessary to complete the chosen layout (paints, glue, paper, plasticine, as well as materials for creating the surrounding landscape (see methods for working on terrain layout)).

Lesson progress 4

In the 2nd lesson, students in groups make a model of the monument. They give names to their works (“Glory to the heroes!”, “No to war!”, “Remember!”, “Feat”, etc.).

These works can be used for thematic cool hours, thematic conversations in primary school, can be transferred to the school historical museum and so on.

Homework: select materials about the origins of monumental painting (rock paintings).

Appendix WORK TECHNIQUES FOR TERRAIN LAYOUT (I option)

I. Making a hill (rock).

1. A hill (rock), of the chosen shape, is made of plasticine.

2. Crumple up the scraps of newspaper. Pile them on the roof and sides of the hill.

3. Place pieces of newspaper with plenty of glue on top of the lumps.

4. Place a medium-grain skin in warm water for about 15 seconds. Squeeze it well. Unwrap and tear into large pieces.

5. Cover the rock with newspapers. Apply the glue and water mixture with a brush.

6. Use a semi-dry brush to paint the entire rock in green color. Add brown spots here and there.

7. Glue vegetation and bushes (see below) on the slopes and in the depressions and groups of pebbles in different places.

II. Making vegetation.

You will need: PVA glue, bath sponge, dish sponge, thin cardboard, sieve, old comb, dry tea (can be dried by sleeping), plastic film, plasticine, twigs, paints, Plastic clay, yogurt boxes, mixer.

Working methods

Preparation of sponge mixture:

1. Carefully chop the sponge into a small mixer, add a little water and turn on the motor. If the mixture doesn't work out, chop it smaller.

2. Squeeze out the water using a fine sieve. Roll the mixture in the paint. Use green and yellow for summer or red and yellow for fall.

3. Mix the sponge with the glue while the mixture is still wet. Store mixtures of different colors separately in yogurt containers.

4. Store excess mixture in plastic bag so as not to dry out. Dry the items on film: they will come off easier later.

Bushes:

Bush:

Stick small clumps of sponge mixture onto the rocks.

Or: Dry some lichens on tissue paper in a lukewarm oven. Stick it on the rock.

1. Grind dry tea and sprinkle it on the paths. Blow on these places.

2. Knead the green plasticine until soft. Flatten it and stick it on cardboard. Place it around the paths.

3. Beat the clay with an old toothbrush or comb until it looks like grass. Paint with a semi-dry brush dark green.

4. For trees, cut branched branches 9-12 cm long. Stick them into clay stands.

5. Press a mixture of sponges of different colors onto the branches. When the mixture dries, add more.

6. For hedges, cut strips of scouring pad 0.5 cm wide. Spread them with glue and place them on wrapping paper.

7. Place the strips on edge and cover them with the sponge mixture. When dry, cut to size.

COMPLETION OF THE MAYOUT OF THE MILITARY GLORY MEMORIAL

(II option) (To help the teacher)

The proposal to create a model of a military glory memorial is of great interest to students.

In this case, the main problem is the harmonization of the aesthetic merits of the landscape of the area and the monumental structure, expressing the idea of ​​​​people's memory and grief for the fallen heroes.

The content of this lesson is focused on instilling patriotic feelings in children, therefore it is necessary to familiarize students, first of all, with the burial places of the heroes of the Great Patriotic War. Patriotic War, which have not yet received a worthy design, as well as monuments located in the immediate vicinity of our city, and works of monumental art of high artistic value.

The word "memorial" means "memorial record." This is a plastic image that perpetuates the feat of the people. Very often, memorial complexes are erected on a hill or on a high river bank. This contributes good review of this memorial from all sides, from a distance and when approaching it. It constantly attracts attention and is often the main landmark of the area. Of great importance is how the space and paths are artistically organized in the form of roads and flights of stairs that lead to the center of the composition - the Eternal Flame.

To create a model of such a terrain, it is enough to glue a second sheet of paper bent in different ways onto one sheet of thick paper. For example, a hilly terrain layout is created by cutting a sheet down the middle and rolling it into a cone shape or simply folding it into a “slide” and then gluing it to another sheet. The originality and variety of landscape layouts activates students' interest and stimulates the search for a creative solution to a task.

As a result of the discussion, students independently choose a “memorable place” to design the “Mound of Glory.” The task is completed in pairs or small groups. First of all, they create a plastic image of the central part

Model of the military glory memorial, around which the space needs to be organized. Many authors design the compositional center of the memorial in the form of obelisks of various shapes, which traditionally symbolize a ray of light breaking through the clouds and indicating the “specialness” of this place.

To make various structures, students use paper strips, which they fold and bend either lengthwise, if they need to make a tall structure, or across - constructing small structures, vegetation, roads, flights of stairs. Many students include images of trees and shrubs in the layout. So spruce - a symbol of eternity, eternal memory, is present in almost every layout.

As a result, everyone comes up with original designs for the Glory Memorial.

Lesson 5

ORIGINS OF MONUMENTAL ART.

ROCK PAINTING
1. To form an idea of ​​the origins of monumental forms of art using the example of the history of the development of rock art and the discovery of sources for its study.

2. To cultivate a moral and aesthetic perception of the world, a love of art and its history.

3. Develop associative-figurative thinking, skills of independent search and systematization of material, and public speaking.

Equipment and materials: reproductions and art historical material about the sources of the study of monumental types of art; students' research work on surviving monuments of monumental painting; art materials; Literary series: V. Berestov “First drawings”.

LESSON PLAN

1. A conversation about the origins of the emergence of monumental types of fine art, the sources of its study, using the results of students’ search work.

2. Statement of an artistic task. Creative work “In the footsteps of primitive artists.”

3. Practical completion of the task.

4. Summing up.

During the classes

1. introduction teachers.

Teacher. Guys, we have already talked about architecture and the fact that it can only be considered in connection with other types of fine art.

Art that is designed for mass perception and exists in synthesis with architecture is usually called monumental.

Monumental art “lives” on the internal and external walls of buildings and structures, on city streets.

Give examples.

Students:

Sculptures-monuments.

Sculptures, fountains, columns.

Mosaic floors, walls, ceilings.

Frescoes, panels, stained glass, etc.

2. Teacher's story.

Monumental art begins to appear and develop along with architecture.

When does this happen?

Scientists believe that the late period of the ancient Stone Age was the time of the birth of art. Actually, here we can talk not about art in general, but about fine art. At the end of the ancient Stone Age, people began to have the need and opportunity to depict, draw, and carve.

When the first cave images of animals were found, almost no one believed that people who lived in caves and used stone tools could draw like this. And yet it is so. Images of animals, amazing in their perfection and accuracy of observations - bison, horses, mammoths - were painted on the walls and low ceilings of caves in Spain, the south of France, and the Urals. Areas of caves with paintings are often located in the depths, in complete darkness. In order to paint these figures here with multi-colored mineral paints, it was necessary to illuminate the walls with torches and stone “lamp” in the form of ladles filled with fat.

It is believed that through images of animals people expressed some important ideas about the world for them. Images of people on cave walls are very rare. This is understandable: after all, in childhood it is easier for us to comprehend the relationships between living beings using images of animals.

Women are the first representatives of the human race to be depicted. Several such drawings have been preserved in the caves. More often they preferred to be depicted in the form of sculptures. These were small figurines that fit in the palm of your hand, made from mammoth tusk, bone, stone, or a specially prepared clay mass.

In all likelihood, figurines of women were used in rituals and worn as amulets. They were supposed to have a magical effect and bring prosperity not only to women and children, but to the entire community.

What did primitive artists paint with?

Apparently the main artistic instrument there was a wool brush, a stick, or just a finger. We tried to convey the main thing in the drawings. Everything unimportant was swept aside, and the characteristic, on the contrary, was exaggerated and generalized. It turned out to be “buffalo to all bison.” Animals were depicted as thick and fleshy so that the hunt would be successful.

Paints for painting were obtained from natural dyes by grinding minerals and plants. This is how he describes it color scheme primitive artists Alan Marshall in the story “Images in a Cave”:

“The drawings were made in red, brown, yellow, and purple paint. Crushed pieces of ocher served as paint. White paint, found in many drawings, was prepared from white clay or crushed limestone. Black paint, which was made from charcoal, was used quite rarely. Most often, hunters resorted to dark brown and yellow tones. People rarely appeared in these drawings. Most often animals were depicted... The entire surface of the rock is painted with ocher of different shades. If you squinted your eyes, it seemed as if you were seeing a huge intricate pattern filled with all the colors of the earth.”

3. Student reports and viewing of reproductions of rock paintings.

4. Creative works.

The teacher hangs a drawing depicting a primitive artist on the board and reads V. Berestov’s poem “First Drawings”,

Let the ancestor live a half-animal life,

But we value his legacy.

He didn't know how to make a pot out of clay,

He was afraid of the spirits he invented.

But still in his remote cave

A crowd of shadows, rapidly alive,

Furious animals are flying along the walls,

His fierce opponents.

The mammoth's eye squints in fear,

A deer runs, inspired by the chase,

He fell and, dying, moves,

And the wounded bison swallows the blood.

The hunters silently followed the trail,

And they opened the battle with a loud cry,

And secured a difficult victory

Light pattern, fine carving.

V. Berestov

Teacher. Now, guys, imagine yourself in the place of a primitive artist, remember how limited the palette of your colors is, what subjects interest you, and complete the creative work-drawing “In the footsteps of a primitive artist.”

At the end of the lesson there is an express exhibition of works. Students give each of their work a title.

Homework: choose material about fine arts Ancient Egypt.

When considering such a highly complex phenomenon in the life of society as architecture, in conditions where sometimes unfounded, harsh criticism is heard, its essential analysis, an accurate consideration of the problems facing it, is more necessary than ever. One gets the impression that architecture is to blame for the mistakes of construction concepts, for the administrative or financial pressure that it often resisted. Of course, it should be recognized that architecture sometimes “lowered the bar” of its social significance, which is unacceptable. A traditional but logical consideration of the essence of architecture is carried out on the basis of consideration of the social need for it and the specifics of its activities. The emergence of a need for architecture can hardly be considered a one-time, quickly manifested act. It was as if society and people at one fine moment suddenly clearly realized that they were clearly missing something. And they clearly understood that this is the need for architecture. It should be assumed that the process of its formation took a long time and was correlated with the process of human development, his sensory and intellectual abilities, with his creativity, activity, and ability to learn, which was inseparable from the process of development of society.

There is no doubt that this need was initially dissolved in many other needs: to preserve life, to ensure one’s health and the health of one’s loved ones, to maintain warmth, so necessary in a harsh climate. All these needs were necessarily satisfied using one or another maximum or minimum of funds, which we now classify as construction and architecture resources. The same applied to the limitations and diversity of forms used at one time or another, and which, to one degree or another, we can attribute to construction and architectural forms. It is not for nothing that we combine construction and architecture in defining this need, since we quite reasonably assume that it was originally in the nature of the need to do, build, build something, create. But at the same time, the need cannot simply be characterized as a need for activity. The modern, activity-based approach often confuses the concepts of the need for activity, activity and its consideration as a means of satisfying a particular need.

The concept of “activity” refers to the ultimate, abstract philosophical categories, the content of which contains all the results of research and implementation of human activity and practice. The way to study any problem, starting with the use of the ultimate concept, which is the concept of “activity”, we must move from the study of the specifics of this or that activity, this or that doing, considered in the process of their change and development, to the definition of the essence expressed in this or that a different concept. If this possibility of expression is not available explicitly, then a demonstration of the path of the analysis being carried out will make it possible to recreate the essential connections of the object under study. This proposal does not at all mean a refusal to put forward fruitful hypotheses regarding the definition of basic approaches to considering the essence of architecture as an important socially significant phenomenon. The essence of things is determined by the needs of people. It is not a real, not a nominal, but a teleological entity. Teleology appears where a degree of freedom appears that exceeds the degree of connection, where choice appears. It is not clear how things happen where there is no choice mechanism. But still, the goal is the ability to choose based on a comparison of explicit and implicit existing knowledge.

In the theory of architecture, its essence was considered on the basis different approaches. The specificity of the historical approach within the framework of the history of architecture considers it from the point of view of identifying patterns of change and development, identifying the main factors influencing them. This approach has managed to accumulate significant empirical material that analyzes in detail certain features of the work of outstanding architects, identifying some patterns of architecture, without giving a complete explanation of the peculiarities of the need for it, the specifics of its formation, and its significance in human life and society.

Based on the culturological approach, architecture is considered from the position of cultural conditioning of its origin and development, and the forms of architecture are considered as cultural forms of expression of the ideal wealth of society. Architecture is seen here as an organic inclusion in the system national cultures, as well as into the system of universal human culture.

The specificity of the aesthetic approach allows us to consider architecture from the perspective of identifying its artistic and aesthetic significance. Formation in it is analyzed from the point of view of identifying perfect form, laws of beauty. Architecture is considered as a type of art, sometimes characterized quite aphoristically (“architecture is frozen music"). The comparative architectural approach allows you to analyze architecture, identifying the general and special in its stylistic changes, contrasting features and combining the features of creativity.

The semiotic approach examines architecture from the perspective of its sign-linguistic specificity. Architecture is analyzed as a certain sign system.

The information approach, using the fruitful developments of classical and non-classical information theories, attempts to analyze architecture as an information system.

It is very important to distinguish the fruitfulness of various approaches in considering architecture (and here there are simply no restrictions: psychological, aesthetic, semiotic, informational, model, constructive, etc.) from a fundamental clarification: how it appears, what need or What needs does it satisfy and will it satisfy? That is, the main problem is the description of the phenomenon of architecture, which in itself is interesting for research, as well as knowledge of its essence.

In determining the essence of architecture, one should go from its analysis to concepts (terms, words, beautiful expressions, borrowings, etc.), and not vice versa. Only when the object of research is precisely defined, its differences from similar objects, when the relationship between the elements of a given object is found, analyzed and recorded and the process of its formation, functioning, structure, change and development of these relationships is determined, only then can it receive an identifier, definition and concept .

The most important problem is the definition of an architectural object in its difference from a construction object. We believe that the main difference lies in the difference between the need for architecture and the need for construction activities. These differences arise from the internal unity of these two types of activity, which is emphasized by Vitruvius' formula. The difference between these needs can be briefly formulated as a difference in architectural and construction objects.

In this case, by object we understand that to which the subject’s activity is directed. At the same time, it is an object of both architectural and construction design. Although we will immediately make a reservation that we use the term “architectural object” with a certain degree of convention. The traditional division of these objects along the lines of “material-ideal”, “subjective-objective”, “definite-indefinite”, “explicit-implicit”, “utilitarian-supra-utilitarian”, “formal-informal”, etc. will give us the characteristics of the manifestations of these opposites in the specifics of the construction site. Thus, the specificity of this object is manifested in the dominance of one of the opposites, subordinating the other: “ideal - material”, “unstable - stable”, “aesthetic - utilitarian”, etc. It would be wrong, in turn, to consider the appearance of these objects without the participation of architect. Although very often this is also subordinate to financial or administrative influences. Architectural objects are important as conditions of our life, our survival, a statement of our existence, its consolidation. At the same time, they are necessary as indicators of the connectedness of everything with everything: past and present, local and many, limited and infinite. Moreover, a change in an architectural object, both in relation to others and in relation to those who perceive it, is significant, influencing the preservation, improvement and development of the human world. Properties and relations exist in reality. The relationships objectified by architecture are no less real than the material objects created as a result of construction activities. Moreover, these relationships act as a real resolution of many contradictions, as a result of which certainty, uniformity, limited information content, and the limited reality of the material substrate of the object are overcome. Overcoming, but not breaking with it.

The multiformity of architecture allows a person to exist in many realities, as a way out of their traditional limitations. But this “output” is also not unlimited, since architecture organizes and directs the activities of people through its influence on their world.

The organizational side of architecture is one of the essential ones. But what specifically does architecture organize? Space taken in a geographical sense? But construction activities do the same. Space in architecture can be considered as a certain form, as the interaction between material and ideal processes and states, their coexistence, as an event characterized by dimension, the unification of consciousness and the objective world with the formation of stable systems in different kinds reality. But architecture is about sustainability. Stability is a criterion for highlighting what is essential; it is the stability of connections, interactions and relationships, dynamics, variability. Hence the repetition in architecture, the reproducibility of its forms. Dynamic stability is higher than static. In architecture, therefore, we can talk about the measure, degree, order of stability, and measure it.

Analysis of sustainability, its role and factors is one of the areas of architectural research. The pattern is based on sustainability. Statics is a moment of movement, self-reflection of architecture, striving to realize what has been “conquered.” Architecture is always directed towards eternity, always relevant, realized present, modeling, improving and developing the world of man, society, humanity. Sustainability is ensured by architecture that creates stable directions for human interactions that are not random, stochastic. Although very often the arbitrariness of the construction of architectural objects is noted, without visible cause and effect. But in any case, the construction must be subject to the requirement of optimization and expediency, both in general and in particular. This is always a targeted focus on creating a socially significant new, more advanced one, since the main vector of architecture is creativity.

Architecture, as the organization of the human world, is universal, since it connects together the real and unreal, explicit and implicit, material and ideal, simple and complex, utilitarian and supra-utilitarian, stable and unstable, uniformity and multiformity, intelligible and sensory data, etc. Belonging architecture to many, “everyone” at once, assumes that it immediately embraces the multiworldliness of people, forms a community as a super complex system of connections and interactions, their multiworldliness. Real reality can be reduced to a limited number of traditional forms of reality. And this is naturally predetermined by the logic of everyday life. The effectiveness of architecture lies in its multiformity, in its formative ability. This is also its logical proof of social effectiveness.

The multiformity of architecture, as well as design, therefore acts as a realization of the most important social need. This is a social need that is clearly unconscious. Hence the inexplicitness and multivariate definitions of architecture, the impossibility at times of expressing its essence rationally and conceptually. Only the visual possibility of expressing real connections between people, real interactions in the sensory form of an object means it as a certain concept, as a definition. This explains why, both in Russian and foreign architectural theory, the empiricism of research, replete with colorful epithets, phrases, neologisms, and terms that describe the phenomena of one’s own consciousness, prevails.

Every architectural form is new language, a new verbal system. The specificity of a language lies in its applicability to many, if not all, conventionality. A language that is not used is a dead language. A significant exaggeration of the semiotic specificity of architecture not only does not help improve its understanding, but, on the contrary, narrows the possibilities of using other approaches. The verbal form is a translation, service capabilities for the user, an explanation of the essence.

Architecture acts as a modeling of the world, defining a whole system of connections, interactions between people, and new forms. Architecture influences the organization, modeling, improvement and development of the world of man and society, cognizing, feeling it, modeling it, doubling it, forcing at the same time to be determined by its objectivity in the creation of its interactions and connections. Doing in architecture is also an understanding of this world, its self-realization, its existence, its creative essence. There is no doubt that creative ideas play an important role in architecture. The idea is multifaceted and multifaceted, it is like a diagram, like a theory, in relation to which reality is considered as an interpretation. An idea as an essence, as a whole, united in connections and interactions, but not having a tangible, sensually perceived form of existence.

Modeling acts as an essential characteristic of architecture. Moreover, modeling is a means of not only formalization, but also understanding. A model is both a technology of cognition, a method of proof, and a means of understanding and explanation. Therefore, the result of doing, building, creating architectural and urban planning activities is the organization, improvement, modeling and development of the human world through the influence of the objective environment on it, materially embodied and subjectively implicitly expressed in the ideality of the image. An object that has diverse qualities and properties, both utilitarian and supra-utilitarian. Architecture is the activity of organizing, modeling, improving and developing the world of man and society through the influence of objects created by the architect, which have various qualities and properties: utilitarian and aesthetic, sensory-material certainty and ideal variability.

A certain complexity arises when we analyze the general, special and individual phenomena such as architecture and urban planning. Architecture and urban planning should be compared within the framework of the specifics of these types of activities. Construction in architecture and the architectural nature of urban planning are manifested in the creation, “making” of the architectural world, its organization. It is the imparting of stability to the objective world that is carried out through the construction specifics of architecture. At the same time, the architecture of urban planning, as the organization, modeling, improvement and development of the human world, is a constant overcoming of stability, inertia, and temporary stagnation of the created objective world. Architecture therefore exists as a constantly created and constantly resolved contradiction between the material and the ideal, stable and changeable, new and old. At the same time, this is a constant overcoming of relativism by giving architectural forms material stability that has existed for centuries, either quickly destroyed objectively, or at someone’s whim.

The dialectical nature of architecture is sometimes perceived as a manifestation of its synthetic and syncretic nature. It is understood as a resolved contradiction, where various opposites transform into each other, determining the development of architecture. Does this mean that the architecture, for example, of a city, can be considered in the utmost syncretism and syntheticity of the “tower” and the “colorful garden”? One can agree with this interpretation if a certain dominant principle of architecture is identified, implemented at one time or another. If we consider architecture from a historical perspective, then we can identify other dialectical components: “arch” and “pyramid”, “square” and “ball”, “web” and “open square”, “network” and “network cell”, “graph” and “graph edge”, etc.