Authors

Tretyakova Maria S.
INTERPRETATION OF TRADITION WITHIN THE FRAMEWORK OF A CONTEMPORARY PARADIGM: TRADITIONAL ‘PATTERNS’ AND COMPUTER-AIDED DESIGN

Architecton: Proceedings of Higher Education №3 (47) September, 2014

This article is devoted to the interpretation of Tradition within the framework of a contemporary paradigm by means of ‘patterns’. First the author describes the contemporary picture of the world and the related new paradigm in architecture and design called ‘metamodernism’. Then she defines the term ‘pattern’ in its specific meaning similar to ornament in Theory of Art. The author formulates two approaches using pattern for interpretation of tradition: 1) creation of patterns using copies of traditional ornaments and 2) ‘restructuring’ of traditional ornaments using ideas of new mathematics. The author concludes that interpretation of tradition in contemporary architecture and design is either formal (mostly in the first approach) or very sophisticated because of double or triple meanings produced by ideas of contemporary science (the second approach). But the latter gives us exciting new possibilities for interpretation of tradition.

Tretyakova Maria S.
‘EVOLUTIONAL’ MORPHOGENETIC DESIGN: POTENTIALITIES FOR INTERPRETATION OF THE TRADITION

Architecton: Proceedings of Higher Education №4 (48) December, 2014

Contemporary design reflects the current picture of the world based on the concept of synergetics and the contemporary evolution theory, thus being under a strong influence of biology including ideas of morphogenesis, polymorphism, metabolism, etc. The use of such scientific metaphors, however, raises the issue of identity in design.
The author addresses this problem proposing to use tradition and the following methods of its interpretation: 1) evolution of form (use of patterns, sections or curves); 2) evolution of principles (use of new scientific concepts in traditional forms, developing or adapting traditional geometry to the new mathematics and biology); 3) method of analogies (drawing analogies between traditional and contemporary elements of art, design or architecture through the same functions for instance); 4) ‘animation’ of tradition (use of new techniques and technologies such as robots or sensors to produce temporal changes of an object).

Tretyakova Maria S.
TRADITIONAL AND CONTEMPORARY JAPANESE HOUSE ‘MINKA’: JAPANESE TRADITION IN ‘MINGEI-CHO’ AND ‘WA-MODERN’ STYLES

Architecton: Proceedings of Higher Education №1 (45) March, 2014

The article reviews the traditional and contemporary interior of the Japanese house «Minka», considers the influence of the tradition on modern Japanese interior in such directions as "mingei-cho" and "wa-modern", and identifies ways to reconsider the tradition in modern Japanese interior. In the course of analysis, the author comes to the conclusion that the invariable “core” of the traditional Japanese house is the very concept of dwelling and its elements determined by the climatic conditions of the region. In the case of the Japanese house this is the concept of a "membrane house" and interior elements ensuring indoor ventilation. In examining the modern variant of the "mingei-cho" style, the author considers the "collage" method as essential to eclecticism, whilst when analyzing the "wa-modern" she formulates a «analogy selection method». The author concludes that it is the adaptation of ideas of the international style to Japanese culture by the method of selection of "analogies" from this culture that has allowed the Japanese interior to develop without losing national identity.

Tretyakova Maria S.
RETHINKING TRADITIONAL AESTHETICS IN THE CONTEMPORARY INTERIORS OF CHINA AND JAPAN

Architecton: Proceedings of Higher Education №3 (35) September, 2011

Today, tradition in design and links with local culture is part of ecologically minded design, including nature conservation but also care for local culture.

The purpose of this article is to define ways of rethinking traditional aesthetics in the contemporary interior design of China and Japan, countries where linkage with traditional culture is striking.

The Taoist idea of balance between man and nature, between the artificial and the natural has defined the specifics of the aesthetic tradition of China. For this reason, the traditional Chinese house has a symmetrical plan, while the garden an asymmetrical one. The desire to balance all elements of life has led to a huge variety of forms in Chinese architecture.

The idea of transiency in Buddhism has defined the basic specificity of the Japanese aesthetic tradition, which manifests itself in simplicity of forms and asymmetric planning of the house and the garden.

The traditional simplicity of contemporary Japanese interior has allowed it to fit well into the modern-day context but also to keep its national originality. The contemporary Japanese interior features simplicity and even «primitiveness» of forms, refusal to practice strict subordination of elements (chaos), desire to create architecture that would be "transparent" for the environment.

The contemporary architecture of China aspires, as before, to amaze with scale, fancifulness and variety. Although it is experiencing a strong influence from other countries, attempts are being made to include the traditional aesthetics into the contemporary context. Chinese designers tend to create houses with a closed plan using brick and various lattices.