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Юрий Погудин Manifesto of Dialectical Architecture
1. Architecture has overcome a huge path in history and is entering new frontiers. The XXI century is known for a tsunami of architectural forms — such multifarious that it has become difficult to distinguish what is beautiful from spectacular, what is nobler — from the interesting. Already at the origins of modern architecture — a century ago — this led to the devalvation of the concept of beauty. But in its meaning, this concept has not disappeared. Without calling beauty beauty, every modern artist/designer/architect is looking for a form that is both meaningful and beautiful — in accordance with his creative credo. 2. The modern world is once again torn apart by spiritual and territorial contradictions. The spiritual identity of peoples and civilizations is not and should not be a uniform monolith. Just as every person has his own life path — his destiny, so every nation and every country has its own destiny. 3. Art and architecture are those areas of creativity where people with different worldviews can be united in understanding and feeling beauty. 4. Many previous creative and architectural manifestos are characterized by negativism — as a negation of the previous major style. Thus, modernism devalues the classics (remaining connected with it in a sense of proportions), and parametrism — modernism. Dialectical architecture considers the history of forms and the meanings behind them as a struggle and unity of opposites. In achieving such unity, synthesis becomes the key category. 5. In determining the criteria for a new architectural beauty, we can rely on the theory of dialectical synthesis of opposites. Dialectical synthesis is not only a well-known synthesis of the arts. This is a direct form-building synthesis of the opposites of the entire aesthetic range of the architect's creator's tools, given as a real geometric morphogenesis of an architectural composition in the expressive form of an expedient space. 6. The principle of synthesis as the principle of generating new categories from different and opposite phenomena and properties can be taken by practical architects into the arsenal of means of searching for new expressive compositions. The dialectical method has the potential to become key in the future development of general and applied theories of creativity and composition. Architecture on this path is a powerful source of inspiration and creativity. 7. The theoretical task of dialectical architecture is to identify the patterns of morphogenesis throughout the history of architecture in terms of splitting and synthesis of semantic and form-building ideas, and apply these results for a new creative step. 8. The practical task of dialectical architecture is to move away from only the irrational, only spontaneous and only intuitive morphogenesis of an architectural position, and the synergy of the spontaneous and rational in order to achieve balance and harmony. 9. Any category of geometry, starting from a point, is at the same time an abstract mathematical concept, a verbal logical one, and a visual one. If the visual image of an octagon is some combination of images of a square and a circle, then it is simultaneously beautiful in both respects — both logical and visual. If the dialectical construction shows the movement of categories and beauty in their semantic morphogenesis, then both visual and material geometry will be a cast, reflection and expression of this movement and this beauty. The geometric concept becomes the point of intersection of logic and aesthetics. 10. If at the logical — geometric level we dialectically combine concepts, and our mind perceives this connection as logical, integral and therefore beautiful, then at the visual-geometric and material — architectural level it will be artistically logical, integral and beautiful. 11. Geometric architectural form is capable of expressing concrete mythological and abstract verbal meanings, internal energies and co-existence of the human soul. Three — dimensional forms can be expressive sculptures of verbal and emotional, intellectual and heartfelt semantic beliefs of a person. 12. The dialectical principle of architectural composition is not to create different things from the same type, but to create the whole from different and opposite ones. The composition then becomes not the overcoming of the monotony of standardization, but the completeness of the combination (synthesis) of heterogeneous forms into a single whole. 13. The method of architectural shaping based on the dialectical triad ensures the connection of the parts of the composition into a logical whole, consciously or unconsciously read at the visual level as a special consistency and expressiveness of the form. The spontaneous form-building stream, structured by the counterpoint of dialectical logic, reaches the level of a logically constructed striking three-dimensional form. 14. The verbal — associative method initiates the awakening of an active form-building fantasy. The primary images generated by it, structured by the architectural — dialectical method, become a source of generation of fundamentally new compositional three-dimensional solutions. 15. The architectural form is a structural and plastic integrity manifested in a specific figurative image of the external volume and internal space. 16. The priority direction of architecture development is not technology and technological progress, but sociology and human well-being. The impact of architecture on society as a whole and on an individual, on behavior and mood, on spirit and will — and vice versa, the anthropo — social impact on architecture are priority directions for theoretical and practical search. 17. The purpose of dialectical architecture is to preserve, multiply and create a new beauty that is born at the junctions of constructive form-building oppositions and in accordance with the standards of the golden measure of the classics. 18. Dialectical architectural composition is not based on the denial or praise of the old or the new, but on the desire for synthetic knowledge, for maximum coverage of all form-building possibilities and their structuring. 19. The internal synthesis of the principles of classical and modern architecture will create a new architecture — both hereditary and innovative. 20. Architecture should not become a slave to technology, programming and "artificial intelligence". Architecture is created by the spirit — in the unity of mind, heart and experience. 21. Our soul, our heart with a sense of beauty and imagination available to us — this is the environment within which the creative event of transcription of semantic and kinetic energy into the actual infinity of form takes place. 22. In the architectural form-building search, individual self-expression is called to achieve a degree of social significance, a union of the architect's subjective creative energy and an objective social request. Architecture at all times becomes a synthesis of diverse human efforts and a harbinger of new beauty. 23. Architecture is the arena of human activity and communication. Its task is to promote peace between people and the harmonization of the human spirit.Architectural designer and art teacher Yuri Pogudin
December 20, 2023. Zelenograd
LITERATURE
1. Pogudin Y. Dialectical Logic and Architectural shaping. On the application of the category of synthesis in architectural practice in the understanding of A.F. Loseva // Credo New. — 2022. — No.4. — pp.108–133. URL: https://credo-new.ru/archives/2805 2. Pogudin Y. Verbal — associative Method of Architectural Morphogenesis. Architectural form as Meaning (in Line with the Aesthetics of the Image of A.A. Losev) // Credo New. — 2023. — No.1. — pp.110–128. URL: https://credo-new.ru/archives/2877 3. Pogudin Y. The System of Categories of Architectural Form and the Problems of Teaching Architectural Composition (towards Building a System of Categories in the Spirit of Architectural Integral Philosophy of A.F. Losev) // Credo New. — 2023. — No.2. — pp.67–84. URL: https://credo-new.ru/archives/2979 4. Pogudin Y. Synthesis of Architectural Form. From Meaning to Concept. — Moscow: LitRes, 2023. — ISBN: 978-5-532-91107-9. URL: https://www.litres.ru/book/uriy-aleksandrovich/dialektika-arhitekturnoy-formy-ocherki-arhitekturnoy-69485020 5. Pogudin Y. Dialectics of Architecture (2006, publication on LitRes 2023) URL: https://www.litres.ru/book/uriy-aleksandrovich-pogudin/dialektika-arhitektury-69840274
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