Authors

Ignatyeva Veronika O.
The artistic language of A. Gaudi’s architecture: a questionnaire study of perceptions

Architecton: Proceedings of Higher Education №1 (81) March, 2023

The article presents the results of a questionnaire survey carried out among the students of the Ural State University of Architecture and Art (Ekaterinburg, Russia) to reveal the perceptions of the signs, imagery and symbolism of eight architectural objects by A. Gaudi. The theoretical model of A.A. Barabanov stating three levels of perception of architectural and artistic form was applied for the first time. The graphic and written data were structured, generalized and systematized according to the content and quantitative characteristics. The principles guiding the perception of A.Gaudi’s architecture language by today’s young creative Russians are summed up.

Ignatyeva Veronika O.
A SEARCH MODEL FOR STUDYING THE LANGUAGE OF ARCHITECTURE: THEORETICAL CONCEPTS

Architecton: Proceedings of Higher Education №2 (74) June, 2021

Based on a collection and generalization of broad architectural data using a systems approach, the author has developed a theoretical model for the study of the language of architecture as a single entity. For the first time, an integral hierarchical system is suggested taking into account a variety of scientific approaches to the study of architectural artworks and the versatility of the formal and substantive aspects of the latter. A set of means of expression is identified and formulated for each of the four levels of the language: figurative-plastic, spatial, environmental, and artistic. A framework of notions has been developed to be used as a research tool in this study.

Ignatyeva Veronika O.
PRINCIPLES UNDERLYING A.GAUDI’S CREATIVE METHOD IN HIS SPATIAL PLANNING SOLUTIONS FOR FOR-PROFIT HOUSING

Architecton: Proceedings of Higher Education №2 (42) June, 2013

The spatial layout of residential buildings in A.Gaudi’s creativity gravitated from early on towards local design traditions. Casa Calvet (1898 - 1900) has the traditional typological, compositional and structural arrangement. The plan of Casa Batlló (1904 – 1906) features irregular symmetry and rectangularity; an increased number of skylighted courtyards and free variation of their geometry and size; introduction of a new structural system at attic level. Casa Milá (1906 – 1910) was given an essentially new typological, planning and spatial solution: additional functions of the underground floor and roof level, total absence of symmetry, regularity and total use of curvilinear and broken plasticity. The extraordinary spatial plan is based on a tectonic system which was essentially new for housing architecture at the turn of the 19th century.

Each next project was used by A. Gaudi for developing his own system of spatial structural elements. Attaching special functional and aesthetic significance to individual levels and structural systems, the master made a technological, functional and artistic breakthrough. The characteristics of A. Gaudi’s creative method are: a well-developed system of skylighted courtyards and stair and lift shafts; abandonment of symmetry and rectangular planning grid, development of a curvilinear broken system; artistic treatment of utilitarian functions; free plan; arrangement of underground parking lots and approach ramps; detailed studies of back elevations; treatment of several elevations as a single surface; the sculpture-like images of the houses.