Architecture: specificity of species and peculiarities of artistic language
By the way of the formation of images architecture belongs to the non-imaginative (tectonic) types of art that use signs that do not allow recognition of any real objects, phenomena or actions in the images and appeal directly to the associative mechanisms of perception. The aesthetic evaluation of a work of architecture is determined by the notion of its ability to serve its functional purpose.
Architecture refers to the spatial (plastic) types of art, works of which:
- exist in space without changing and evolving in time
- are of an object nature;
- They are made by processing real material;
- They are perceived by visitors directly and visually.
Peculiarities of the artistic language of architecture
The expressive means of architectural art are composition, tectonics, scale, proportion, rhythm, plasticity of volumes, texture and color of materials used. The aesthetic effect of works of architecture is greatly influenced by their constructional solution. The building should not only be strong, but also to give the impression of solidity. If there is an impression of insufficient material, the building looks unstable and unreliable, but observed excess of material, gives the impression of excessive gravity. All this causes negative emotions. Also at https://www.craftandconcept.ch you can see a lot of custom designs made to order.
From all other arts architecture differs, above all, the longest process of work: the painter can finish his work in a few days, the work of the architect can sometimes require a lifetime.
What does the first and main step in the architectural design process - the building plan - mean? In the eyes of the profane, the plan of a building is nothing more than an outline of the horizontal extent of a building, like the plan of its floor: the more clearly the plan emphasizes the characteristic qualities of the floor, the easier it is for the profane to understand the composition of the future building, to imagine himself strolling through the building, so to speak. On the contrary, the architect sees in the plan not the extent of the building, not the outline of the floor, but the projection of the covering. In other words, the architect reads the plan not in two but in three dimensions, and, more importantly, he perceives the plan not from the bottom up, as is typical of the profane, but from the top down. This perception of space from top to bottom is one of the most indisputable and profound attributes of architectural creativity.
