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677
SEMANTICS OF GEOMETRIC FIGURES IN MODERN FACADE SOLUTIONS
Karimjon Kuranbaevich Polotov
Senior Lecturer, Andijan State Technical Institute, Andijan, Uzbekistan
Abstract:
The article considers the problem of visual information content of modern architecture.
Architecture and the emotional world of a person are interconnected. The loss of the inherent
information content by architecture has a negative impact on the quality of the urbanized
environment of modern cities. The semantics of architectural images built on the basis of
geometric figures has its own temporal development. The geometric figure as an archetype
retains its key role in creating the image of an architectural object. However, the traditional
reading of the form in modern design practice receives a new understanding.
Keywords:
geometric figure, archetype, semantics, facade, visual information.
ZAMONAVIY FASAD YECHIMALARIDA GEOMETRIK SHAKLARNING
SEMANTIKASI.
Karimjon Kuranbayevich Polotov
Andijon davlat texnika institute katta o’qituvchisi, Andijon, O’zbekiston
Annotatsiya:
Maqolada zamonaviy arxitekturaning vizual axborot mazmuni muammosi ko'rib
chiqiladi. Arxitektura va insonning hissiy dunyosi o'zaro bog'liqdir. Arxitekturaga xos bo'lgan
axborot mazmunining yo'qolishi zamonaviy shaharlarning shahar muhiti sifatiga salbiy ta'sir
ko'rsatmoqda. Geometrik figuralar asosida qurilgan meʼmoriy obrazlar semantikasi oʻziga xos
vaqtinchalik taraqqiyotga ega. Geometrik figura arxetip sifatida meʼmoriy obʼyekt obrazini
yaratishda oʻzining asosiy rolini saqlab qoladi. Biroq, zamonaviy dizayn amaliyotida shaklni
an'anaviy o'qish yangi ma'noga ega.
Kalit so'zlar:
geometrik figura, arxetip, semantika, fasad, vizual ma'lumot.
СЕМАНТИКА ГЕОМЕТРИЧЕСКИХ ФИГУР В СОВРЕМЕННЫХ ФАСАДНЫХ
РЕШЕНИЯХ
Каримжон Куранбаевич Полотов
старший преподаватель, Андижанский государственный
технический институт, Андижан, Узбекистан
Аннотация:
В статье рассматривается проблема визуальной информативности
современной архитектуры. Архитектура и эмоциональный мир человека взаимосвязаны.
Потеря архитектурой присущей ей изначально информативности негативно отражается на
качестве урбанизированной среды современных городов. Семантика архитектурных
образов, построенных на основе геометрических фигур, имеет свое временное развитие.
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Геометрическая фигура как архетип сохраняет свою ключевую роль в создании образа
архитектурного объекта. Однако традиционное прочтение формы в современной
проектной практике получает новое осмысление.
Ключевые слова:
геометрическая фигура, архетип, семантика, фасад, визуальная
информация.
Modern architecture strives to follow the latest technical advances and maintain continuity in its
development.
Therefore, the tendency to combine different disciplines is spreading.
Architecture as a socially oriented field of activity is developing in the direction of involving
sociology, psychology, economics and technical sciences in the design process. As a result,
many interdisciplinary studies have appeared that look at the problems of modern architecture
from different perspectives. Much attention is paid to architectural phenomenology, the
phenomenon of visual perception, coloristics and the basics of composition. Primary geometry
issues are still poorly resolved in facade details. Architectural form is considered as a system,
which is very reasonable. However, the role of individual elements of this system in terms of
information content has not been sufficiently studied. In addition, the communication
requirements for the architectural environment are increasing every year.
At the end of the 20th century. Much attention was paid to learning the language of architecture.
Researchers associate this phenomenon with the processes of style formation. Already in the
second half of the 19th century. simultaneous presence of different stylistic directions is
observed. It is this variety that has led to the expansion of semantic interpretations of individual
elements in the image of an architectural object.
Modern architecture is characterized by the active use of innovative technologies both at the
design stage and during project implementation. This led to the emergence of new "non-
canonical" [p. 3, 4] metaphors in the architectural language.
Architecture has its own semantics as part of the modern communication environment [2].
Semantics studies the rules of interpretation of symbols, i.e. touches on figurative and symbolic
aspects of architecture [9, p. 81-82].
Geometry forms the basis of architecture and actively participates in the formation of its
language. Simple geometric figures (archetypes) originally carried a semantic load [6]. Ancient
man used symbols to express his thoughts about the world around him.
We can find images of such symbols on various household items, walls of houses and clothes.
All decorative compositions are created on their basis. Images of geometric figures-symbols are
often found in such compositions: circle-sun, square-earth, triangles-mountains (or forests);
spirals representing the ideas of the infinity of existence, constant development or eternal motion.
Each cult system created its own paradigms that define the semantics of geometric figures. It
should also be noted that each culture has interpreted this or that sign (figure) in its own
way.Let's look at the meaning of the main numbers.
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The circle has always been a universal symbol. It has no beginning and no end. Therefore, in
many traditions, the circle represents the Cosmos, the universal space. Its main task is the
symbolic representation of celestial bodies. In Christianity, the circle was associated with ideas
about the world and infinity.
The square is found in the decorative compositions of the oldest cultures. The square
symbolized the foundations of the universe, the four cardinal directions. The square was also
associated with land and fertility. For example, in Greco-Roman tradition, it was a symbol of
Aphrodite (female fertility power).
The triangle was associated with the magical number three. An equilateral triangle, with its
apex pointing upwards, was the symbol of the supreme deity in Christianity and Judaism. The
triangle with the apex pointing down was often associated with the feminine principle.
Order systems deserve special attention. Based on "natural" prototypes, they gradually acquired
more and more strict and compact geometric shapes. For the ancient Greeks, the column
represented the human div. This is indicated not only by the numbers of the caryatids and
atlantas, but also by the names of the individual elements of the order. In postmodernist
architecture, ordered compositions change their visual appearance and have a completely
different semantic meaning (Ricardo Bofill, Michael Graves, etc.).
The language of architectural form, as mentioned above, refers to sign or semiotic systems.
Their content is expressed using certain symbols or codes. In this case, we will consider
geometric figures.
Yu.I. Kurbatov identifies two types of codes that are semantically opposite in the architectural
language. The first is the encryption code. He is responsible for the news. The second code is
the decryption code. It represents continuity [5].
Innovation in architectural form complicates perception; allows a person to participate in the
creative process.
Continuity, on the other hand, is designed to facilitate perception. It brings the architectural
image closer to a person, includes it in the framework of humanitarian culture and connects it
with psychological needs. This is where an intuitive reading of a code based on cultural
traditions takes place.
The combination of these two codes in the language of architectural forms is always a reflection
of the era. It gives an idea of the level of cultural development, priorities, national
characteristics and the structure of cognitive psychology [5].
An important factor to consider when developing facade planes is visual perception. Visual
ecology is concerned with the development of ecological principles for the construction of
material objects that meet the "standards of vision" [8]. In this case, it determines the degree of
saturation of the facade plane with geometric elements, the nature of their relationship and
location. These parameters describe the visual data content of the object that enters our field of
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vision. The lack of information, as well as its excess, negatively affects the psycho-emotional
state of a person [8, p. [43-45].Therefore, it is necessary to create a clear and comfortable image
of the architectural space.
It should be noted that the perception of facade planes depends on the characteristics of the
environment. First of all, this is the nature of the neighboring buildings. In the historical centers
of cities with low-rise or medium-rise block buildings, the street frontage is a continuous line of
facade planes. Any new facility must be properly incorporated into the existing development
plan. New micro-districts are characterized by the development of multi-storey areas and the
presence of open spaces, which provide more variability in the points of perception of the
building facade.
In an urbanized environment, a person should be able to move easily and recognize familiar
landmarks. Therefore, there should be no break with the past in design decisions. Examples of
popular architectural structures show that their authors to one degree or another consciously refer
to historical models. In this way, they create recognizable and memorable architecture.
Architects have repeatedly turned to simple forms. To some extent, this was also related to the
utilitarian function of architecture. However, they continued to preserve the tradition of carrying
the semantic load.
Let's consider the options for using geometric figures in the development of composite solutions
for facade planes of buildings and structures.
The most common use of geometric shapes on the facade is openings. In addition to their
utilitarian function, they also perform the function of forming the facade plane of the building.
In the first buildings, the sizes of the holes and their shape were determined based on technical
possibilities (building materials, production technology). The sacred symbolism of the form was
also taken into account in religious buildings.
Geometric shapes on the facade can be seen in the nature of the stone. The pattern of iron, the
size and shape of stone blocks or bricks determine the unique structure of the facade surface and
the scale of the building.
Covering the facade with different materials is also a very traditional method that is widely used
today.
Mosaics have been used in the architecture of many countries, which makes it possible to create
national decorative patterns. The semantics of decorative compositions often performed
protective functions, serving as a kind of amulet. Here it is appropriate to recall the carved
decorative elements of Russian huts, stone carvings on the walls of old Russian churches, and
decorative patterns made of plinths.
In modern architecture, the use of traditional decorations in facade decoration becomes
primarily an indicator of the continuity of regional traditions. Their semantics refers to a
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person's roots, origin. Such elements have historical information content.
Recently, two trends in the use of geometric shapes in the design of architectural objects should
be noted.
The first direction continues to develop the trend of high technology and pragmatism. On this
front, it is expressed in the rational structure of aircraft, which allows to standardize their
production.
In the second direction, he takes into account the latest achievements of science and technology
and makes maximum use of them. But at the same time, living nature is used as a basis for
creating visual images (bio-technological direction). This trend is not new either. He only
received further development. Here, one can observe the increasing complexity of both
individual elements and the geometry of the entire structure. New types of geometric figures
called fractals are emerging.Fractal geometry allows us to create a visual representation of
continuous development and change that is useful for human perception[4].
The emergence of complex geometry, to a certain extent, is connected with the development of
design technologies that allow its reproduction and calculation [1].
Despite the technical
complexity of such solutions, the semantics of the resulting visual image turns out to be simple
and understandable. At an intuitive level, one can read its natural basis, which is rare in the
modern urban environment.
At the same time, loyalty to simple forms remains.
An example of this is the Inotera headquarters project in Taipei (architecture firm
tecArchitecture, 2004). The basis of the virtual solution was the combination of traditional
Asian architecture and high-tech elements. The facade of the building is made of panels that
imitate traditional Taiwanese tile work. The panels are rectangular in shape and change size and
color as their height changes. Parametrization was used in the separation of facades [1].
HAEAHNAarchitecture specialists have developed a 33-story office building project for IFEZ.
The distinctive feature of this skyscraper is its dynamic style. The facade of the whole complex
is a set of exact geometric numbers [7].
Experts say that in the architecture of the modern world, there are more and more objects that
are compact and pragmatic in their form, but distinguished by the accuracy of details and quality
of execution. Preference is given to forms that allow creating energy-efficient buildings, as well
as reducing their construction costs.
The purpose of the building should also be taken into account. Large public building projects
"broadcast" completely different information to the world than housing projects.
The projects of famous architects stand out from each other. They are distinguished by the
bright individuality and style of the author (Zaha Hadid, Daniel Libeskind, Norman Foster, etc.).
To some extent, they set the direction for the movement of architectural thought. But it should
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be noted that such objects are unique. They are often treated not as architectural objects, but as
self-sufficient works of art without any context. It is not for nothing that they are called
sculptural buildings in professional circles.
CONCLUSION
History is characterized by periodicity. The history of architecture also in the last century, large
public and religious buildings were distinguished by their bright individuality. Building
structures, on the contrary, kept the traditional character of their forms, distinguished only by the
decoration of their facades.
Currently, the development of design solutions for the facades of residential buildings continues
in the direction of the variety of details, finishing materials, color range and plasticity of the
facade (partitions and relief geometry). Such decisions are justified by the possibilities of the
modern construction industry.
Using the semantics of geometric figures as a means of certain continuity to introduce familiar
elements into new images allows expanding the boundaries of architectural creativity. Thus,
without losing touch with the past, it is possible to create fully contextual forms that are oriented
towards the future.
Based on the above, it can be said that geometric figures play a major role in the formation of
the facade of modern buildings. Initially, simple geometric figures played an important role in
the construction of architectural structures and became archetypes in both architecture and
cultural traditions. This is a circle, square, triangle. They are given different semantic meanings.
First of all, these numbers were included in the world perception system. They had a sacred
meaning.Currently, the semantic meaning of figures is mainly determined by the function they
perform.
The format and geometry of the holes allows us to determine the type of building (residential,
public, industrial). The division of the facades (glass cutting, different cladding panels) helps to
establish the correct size of the structure.
The geometric shape of the individual elements of the facade, on the one hand, shows the high
technological level of the building, and on the other hand, it reproduces the living environment.
Architectural ecology in its modern interpretation mainly includes the level of comfort of the
visual environment created by the facade planes of the buildings that surround us. Thus, an
attempt is made to create an ecological and comfortable visual environment for a modern city.
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