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9. Shymko V. Architectural and design. Fundamentals of the theory (environmental approach) / V. Shymko - M.: Arhitecture C, 2009. - 219 p.
Тюрикова Е.Н.
канд. архитектуры, доцент, ORCID: 0000-0002-4279-7623 Погорелое О.А. старший преподаватель, ORCID: 0000-0003-0150-043X Титинов В.В. асситстент кафедры ORCID: 0000-0001-6118-8746 Недошитко О.М. старший преподаватель Одесская государственная академия строительства и архитектуры
ФОРМИРОВАНИЯ СРЕДЫ ВЗАИМОДЕЙСТВИЯ ЧЕЛОВЕКА И УЛИЧНЫХ ЖИВОТНИХ
Тюргкова О.М.
канд. архimекmури, доцент, ORCID: 0000-0002-4279-7623 Погорелое О.А.
старший викладач, ORCID: 0000-0003-0150-043X
Тгттов В.В.
аситстент кафедри, ORCID: 0000-0001-6118-8746
Недошитко О.М.
старший викладач
Одеська державна академiя будiвницmва та архimекmури ФОРМУВАННЯ СЕРЕДОВИЩА ВЗАСМОДШ ЛЮДИНИ I ВУЛИЧН1 ТВАРИНИ
UDC 72.03:725
Tiurikova E.N.
Ph.D. in Architecture, Assistant Professor, ORCID: 0000-0002-4279-7623 Pogorelov О.А. Senior Lecturer, ORCID: 0000-0003-0150-043X Titinov V. V. Teaching fellow ORCID: 0000-0001-6118-8746 Nedoshitko О.М. Senior Lecturer
Odessa State Academy of Civil Engineering and Architecture
FORMATION OF THE COMMUNICATIVE AND OPERATIONAL GRAPHIC COMPETENCIES OF
THE ARCHITECTURE STUDENTS
DOI: 10.31618/ESSA.2782-1994.2021.1.68.9 Аннотация. Статья посвящена проблеме организации экосистемы города архитектурно-дизайнерскими средствами. Выявлены противоречия и условия совместного обитания в городской среде людей и уличных животных (котов). Исследованы исходные возможности разных типов городской среды (пляжи, традиционный одесский дворик, общественные парки и скверы, современная многоэтажная застройка) в формировании гармонизированного, бесконфликтного взаимодействия людей и животных. Представлены эскизы поиска художественного образа кошачьих поселений (студенческие работы).
Анотащя. Статтю присвячено проблемi оргашзацп екосистеми мюта архггектурно-дизайнерськими засобами. Виявлено протирiччя i умови стльного проживання в мюькому середовищi людей i вуличних тварин (копв). Дослвджено вихвдш можливосл рiзних титв мюького середовища (пляжц традицшний одеський дворик, громадсьш парки i сквери, сучасна багатоповерхова забудова) в формуванш гармошзованого, безконфлштного взаемодп людей i тварин. Представлеш есшзи пошуку художнього образу котячих поселень (студентсьш роботи).
Abstract. The publication is devoted to the problem of the formation of the communicative and operational graphic competencies of the architecture students. The parallels are drawn between the design and artistic activities of the students. The forms of search and implementation of a creative idea by the graphic means are studied. The paper reveals modern approaches to the professional communication by graphic methods, means of forming environmental mise-en-scenes, featuring the functional and activity, emotional and figurative, etc. components of the architectural concept. The parallels are drawn between the theatrical and scenographic approach, cinema storyboard and the method of featuring sequential environmental impressions in the architectural sketches. The potential of formal art in enhancing the emotional-compositional component of students' works are researched.
Ключевые слова: экосистема, архитектурно-дизайнерские средства, условия бесконфликтного взаимодействия, художественный образ фрагмента городской среды, кошачьи поселения, гуманистический подход, городской образ жизни.
Ключовi слова: екосистема, архiтектурно-дизайнерськi засоби, умови безконфлктного взаемоди, художнш образ фрагмента мiського середовища, котячi поселення, гуманктичний пiдхiд, мiський споаб життя.
Key words: composition, graphics, artistic image, design, graphic skills, competencies,
The topicality is in an attempt to overcome the contradictions between the classical academic art education of the architecture students and the practical needs of their professional realization. The task of providing students with graphical and communicative tools that make it possible to demonstrate the concept in its development, in dynamics, to conduct a professional dialogue by visual means is found and illustrated.
V. Shimko, A. Efimov, A. Ikonnikov, A. Gutnov, V. Glazychev, I. Rozenson [1-8] and others devoted their works to the development of professional competencies of architects-designers. In the field of formation of the artistic and compositional skills an important place is occupied by the works by N. Volkov, Y. Gerchuk, E. Shorokhov, V. Savenkova, G. Beda [912], etc. the problems of professional artistic training were studied by E. Belaya, S. Kanivets, L. Masol, T. Mikhova, O. Soroka, O. Khrashchevskaya and others. Their study interests include areas of style formation, art therapy, generation and implementation of aesthetic values, the creative, reconstructive, constructive, representative, personality-oriented, integration, innovation and other types of professional activities of the artist. The competency-based approach to proessional training was studied by N. Didus, M. Dobruskin, T. Dolgova, T. Katkova, T. Komarnitskaya, T. Mikhova, O. Shcholokova, E. Tyurikova, etc.
However, the instrumental skills that make it possible to conduct a graphic dialogue, to consider a project idea in the course of its development, to identify the sources and carriers of an artistic image in architecture by graphic-analytical and combinatorial methods, remain unexplored.
This made it possible to formulate the problem, object, subject, purpose and objectives of the study.
The problem is the formation of communicative and operational graphic skills of architecture students.
The object is the professionally important graphic competencies of the architects-designers.
The subject is communicative and operational graphic skills in the professional training of architects-designers.
The purpose is to identify and systematize the communication and operational skills in the professional training of architects.
The objectives:
- to identify the features and problems in the graphic training of the architects;
- to highlight professionally significant graphic skills, the scope of their application;
- to establish means and methods of forming communicative and operational graphic skills of the architecture students.
The professional training is interpreted as readiness to perform the professional functions, readiness for a certain type of activity, provides for the purposeful formation of the necessary qualities. As a result of professional training, a new formation arises -competency, which consists of knowledge, abilities, skills, values and personal qualities, enabling the architect to independently and effectively carry out professional activities. We have identified the structural components of graphic competency based on the desired result, which is determined in accordance with the state standard for training an architect-designer. As part of this study, only those graphic competencies are considered that allow for interpersonal communication, promote dialogics and provide information content and imagery (see Table 1.).
20 East European Scientific Journal #4(68), 2021
The structure of Table 1. professional-graphic competency of an architect-designer.
General professional - possession of graphic techniques and materials - feature of the form, volume, space - feature of the nature of the material, manner of execution, texture - using the features of the graphic processing to achieve the planned result - the ability to deal with nature, according to imagination, from memory - compositional skills, - creative skills
Specialized (architectural and graphic) - stylistics and stylization - shaping - conceptual sketching - specifics of the architectural and graphic language - constructive analysis and combinatorics of forms - optical illusions, reflections, special effects
Communicative-dialogical - feature of the stages of the design process, analysis, change and range of impressions - achieving interactivity, verbal and graphic interaction - development of dialogics of images, generation and feature of processes, senses, and meanings - use of methods of story boarding, mise-en-scene drawing, scenario modeling of the situations - graphic information skills using the form of comics.
Emotional and image-bearing formation skills: - artistic dominant - aesthetic tuning fork of the environment - means of identification (national, regional, corporate, etc.) - determinants of an emotional sign - sources and carriers of artistic imagery
The problem of the formation of the graphic skills of architecture students is considered from different perspectives: the traditional academic approach, the professionally oriented formation of certain visual competencies, and provision of graphic communication tools. All these forms are present in one way or another in the professional activity of an architect. However, the experience of academic work has demonstrated that there is a bias towards academic training, the students do not have enough knowledge of various materials, artistic tools and techniques. The graphic composition and presentation of project ideas, processes, and exploratory sketching cause difficulties. Quick sketches, short-term subject compositions,
foreshortening tasks, and focusing on the chief thing cause difficulties. The task of "thinking by a pencil", "communicating by a pencil", conducting a dialogue using images (such as comics or storyboards), working by an active material without using a pencil and an eraser is impossible for many. Potential of collage, installation, happening on the basis of project graphics, etc. are hardly applied in search and design practice. Combinatorial thinking, imagination, imagination, and outlook are poorly developed.
In the course of practical interaction of the design and art academic disciplines, the educational tasks and means of their implementation took shape (see Table 2).
Table 2.
Coordination of educational tasks of art and project training for 1 and 2 courses.
Initial architectural training Artistic training Assignments
1 Architectural details and moldings Constructive and linear drawing, feature of volume by line, chiaroscuro, feature of material properties l.Optimization of means of expression short-term sketches of fragments of the architectural profiles (a piece of cornice, column caps, balusters, vases, sculptural details, elements of complex shape) without a pencil: ink-brush, or felt-tip pen. 2. The emotional load of the picture. Composition. - a fragment of an architectural monument (advertising postcard) by various art means: watercolor-romantic, stylized as Japanese graphics, old photography or engraving, in the manner of various artists or artistic style (Cezanne, Vann Gogh, Manet, Picasso, ...) 3. Art-translations and art-interpretation of the "architectural profile" in the languages of different arts.
Orders Proportioning, mass and detail, shapes and volumes, framing of composition volumes, stylistics and stylization based on classical forms. The line as a means of expression, Complex shape constructive analysis
4.also in different materials (wire, concrete, paper, material combinations)
Drawing the facade of an architectural monument as a whole and in details. Wash drawing of an architectural monument The concept of a whole and parts, mass and detail, the concept of proportions, rhythm, divisions of the whole (plane, surface, volume), the concept of point of view, angle of perception, and scenery spot. The perspective of geometric bodies and their combinations (constructive analysis) Feature of volume by effects of light and shade. Exercise of the plane by tone. Highlighting the foreground. Techniques and materials of manual graphics. Stylization of natural forms, human figures, groups of people 5. Linear sketches of the urban environment fragments (academy courtyard, Odessa courtyard), details of the buildings. 6. Facade of a building from the human horizon (division of the plane). 7. Perspective of a urban environment fragment. Roofs of the city (bird) 8. Sketches of people in the urban environment (outdoor café, bikers, athletes, pensioners, beach goers), multi-figure compositions. 9. Perspective futuristic composition based on geometric bodies (space or underwater station). Illustrations of science fiction with architecture, featuring of conventional color and lighting (the purple planet of the four suns). 10. Lighting design, shadow show. 11. Snap compositions: People (crowd, mass of people from different angles), Transport (bicycles and rollers, carts and trolleys, Odessa trams, in a traffic jam, street parking, in the port, in a yacht club, boats, crafts and paddleboats on beach, trains. Images of the "interior" of the vehicle, from different horizons, in different approximations and angles. Design of the transport of the future (helicopter-steamer)
Drawing the perspective of an architectural monument Wash drawing of an architectural monument perspective
2 Traffic stop Shape analysis, Stylization and functional interpretation of the natural motives. Angle, rotation, form forming based on a geometric body. Composition, formal composition, its potential in DAS. Translation from different languages of art ... Form making and stylization based on font. Thematic form and image forming, Light scenario of the interior. Form making based on stairs. Visual effects, means of attracting attention. 12. Exercise "Flying cube, spinning cube (in turns), inside cube, composition based on cube, square. 13. Comics. Drawn pictures - stories based on student's life. 14. Construction. The city of sand. Phased construction with fixing the stages. Constructive image. Sectional shells, bionic fountains. 15. Development of an arbitrary theme, for example, "fish" (used for sitting on it, flying, living in it, etc.; playing fish, theatrical performance poster, theatrical costume "fish", and a sign for a store "The fish, indeed", scenery for the play "Fish Day". Installation or collage with graphic detailing... 16. Entrance zones to buildings. Branding, graphics plus logo Shop-windows Signboards and advertising Design of the elements. 17. Cafe interiors. Spatial images. Design of special form making equipment.
The table demonstrates that the design practice requires the solution of various artistic tasks: stylization, art-interpretation, combinatorics, shaping, modeling and sketching, work in various materials and techniques, etc.
Communication and graphic training is aimed at dialogic skills, its feature is "shotgun" work,
"storyboard" approach, creation of a "design tree" of artistic searches, search shaping, "automated" constructional and light-and-dark cut-off analysis, the use of optimization and stylization methods in composition.
Prototypes and analogs for individual exercises are presented in Table 3 :
Table 3.
Prototypes and analogs for individual exercises
5. Graphic and coloristic methods of changing shape and space
6. Stylization of complex voluminous shapes.
Arrangeme nt of dynamic space with lines, color, optical illusions.
Form making based on stylization,
visual deformatio n,
overlaying
an additional theme.
7. Development of space based on a given structural and compositional scheme
To form open and closed spaces based on the identical scheme. To save the "well" theme
8. Sources of the images - household items.
To turn non-artistic
forms (household
items, plumbing,
etc. equipment) into an art object or architectura l form
9. Art-interpretation of materials and textures
Formation of
volumetric-
spatial compositio ns based on material properties.
Solving problems on these and other themes frees the imagination of students, expands the range of creative searches, forms the "mindset" of the artistic potential of the "out-of-artistic", provides art tools for solving project tasks. However, communicative-
dialogical tasks can be implemented only in the "shotgun" and "one-go" modes.
Students' works (Fig. 1) demonstrate the focus of the communicative graphics.
Fig 1. Environment mise-en-scène. "Shotgun" compositions.
Conclusions. Thus, the problem of the formation of the communicative and operational graphic competencies of architecture students is solved by: coordinating artistic and project training, setting of general educational tasks, defining long-term tasks and visual priorities, identifying the range of visual tools and methods for mastering it by students in art and project disciplines. In other words, the implementation of a competent approach in professional training.
The paper highlights the professionally important graphic competencies of the architects-designers, demonstrates their place in the system of general graphic competencies. The communicative and operational graphic competencies are developed by the system of visual and creative stimuli and solution of artistic and design problems. The condition for the formation of such skills is the execution of works in the form of "shotgun" composition without preliminary sketches and markings, the image of mise-en-scenes, environmental situations in a simplified stylized presentation.
List of references
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УДК 72.03:725
Тюргкова О.М.
канд. apximeKmypu, доцент, ORCID: 0000-0002-4279-7623 Погорелое О.А. старший викладач, ORCID: 0000-0003-0150-043X Тгттов В.В. аситстент кафедри ORCID: 0000-0001-6118-8746 Недошитко О.М. старший преподаватель Одеська державна академiя будiвництва та архiтектури
ПРИНЦИПИ ТА ЩДХОДИ ФОРМАЛЬНОÏ КОМПОЗИЦП В АРХ1ТЕКТУРНОМУ ДИЗАЙН1
Tiurikova E.N.
Candidate of Architecture, Assistant Professor, ORCID: 0000-0002-4279-7623
Pogorelov О.А. Senior Lecturer, ORCID: 0000-0003-0150-043X Titinov V. V. Teaching Fellow ORCID: 0000-0001-6118-8746 Nedoshitko O.М.
Senior Lecturer
Odessa State Academy of Civil Engineering and Architecture
PRINCIPLES AND APPROACHES FORMALLY COMPOSITION IN ARCHITECTURAL DESIGN
DOI: 10.31618/ESSA.2782-1994.2021.1.68.10 Анотащя. У статп проаналiзовано особливосп застосування принцитв формально!' композици в проектнш дiяльностi архггектора-дизайнера. Вщокремлеш поняття формально!' композици, формально-композицшного тдходу, формально-композицiйоного принципу. Розкрито характеристику «мiра» як всеохоплюючого поняття. Наведено паралелi мiж дизайнерсько! композищею та формальною композицieю в мистецтвг Проаналiзовано та створено пiдходи до утворення середовищно! композицiï (сюжетний, монтажний та формальний). Категорiï та поняття узагальнено в табличнiй формi. Зютавлеш приклади застосування рiзних композицiйних пiдходiв до розробки торгiвельних вiтрин.
Annotation. The article analyzes the features of the application of the principles of formal composition in the design activities of an architect-designer. Separated notions of formal composition, formal compositional approach, formal compositional principle. The characterization of the "world" as an all-encompassing concept is revealed. Parallels are given between design composition and formal composition in art. Approaches to the formation of environmental composition (plot, montage and formal) have been analyzed and created. Categories and concepts are summarized in tabular form. Examples of the application of various compositional approaches to the development of trade showcases are compared.
Ключовi слова: композицiя в архiтектурному дизайнi середовища, формально-композицшний пiдхiд, композицшна мiра, сюжетна, монтажна, формальна композицiя, емоцшний резонанс, емоцшне напруження, категори композици, композицшна цжстсть.
Key words: composition in architectural design of the environment, formal compositional approach, compositional measure, plot, montage, formal composition, emotional resonance, emotional stress, categories of composition, compositional integrity.
Актуальшсть роботи: в пошуках 3aco6iB мистецтва в середовищному проектуванц щдвищення емоцшних впливiв архитектурного дослщжент проблеми середовищно! композици з середовища; застосувант надбань сучасного позицш формально-композицшного тдходу;
