About the authors
First name, Middle name, Last name, Scientific degree, Scientific rank, Current position. Full and brief name of the organization, The organization address. | Ryabov N.F. – senior lecturer E-mail: This e-mail address is being protected from spambots. You need JavaScript enabled to view it Kazan State University of Architecture and Engineering The organization address: 420043, Russia, Kazan, Zelenaya st., 1 |
Title of the article | Сomposition potential of forms of «live» |
Abstract. | During the last decade in the architecture we can see the transition from static to dynamic forms. It reflects to appearance new methods of creating. We can especially mark out all types of adoption different methods of masters of painting, photo and sculpture, who before all other have illustrated shape of the time space in the motion of «live» space. Art works of sculptures in ancient Greece and India in XII century, painters and photographer-experimentalists in XIX century, icon painters and painters of modern comics united by the concept of «shape-motion». Special attention should be paid to the avant-garde artists creations in the beginning of the XX century. By the connecting different stages of motion they created complex plastic forms, which are not similar to the real analog, but they gave submission of this «live» objects. Their paintings and structures are demonstration of the real work principles of synthetically and analytical in reflection motion in the composition forms. Acquaintance with art works of different masters and their methods of creating, become proficient in their techniques can help us in the developing associative-imaging way of thinking of the architecture students. It also can help in mastering practical analyzing and observing skills. |
Keywords. | Plastic expressiveness, dynamics, movement transfer, composite search, associative thinking, installation, collage, metaphor. |
For citations: | Ryabov N.F. Сomposition potential of forms of «live» // Izvestiya KGASU. 2011. №4(18) P.107-114. |