Читать книгу Architecture. Dialectic. Synthesis - - Страница 12

The first chapter dealt with the embodiment of human consciousness in architectural matter. This process is accompanied by the reverse process: once erected, the building begins to live in the physical space and in the space of human perception. The architectural object is embodied (in other words, it affects) In human consciousness, primarily in the most general category – size or magnitude. In human perception, this category is modified into a scale system. The size of the building either dominates consciousness (mega-scale), or is relatively small (micro-scale), or, finally, is commensurate.

Next, it is necessary to give a clarifying modification of the scale category in connection with the human body. A person perceives the dimensions of a building not only as an object "in itself", but in relation to the size of his body. According to the previous division, the buiding can be commensurate with the human body, and therefore psychologically comfortable. If the building is disproportionate, they speak of the "indefiniteness of the physical dimensions of the structure.27" This method of realizing size in perception was used by ancient Egyptian architects, creating colossal undifferentiated arrays of pyramids. The masters of the Western European Middle Ages, on the contrary, introduced many divisions into the flying vastness of space. It is no coincidence that O. Mandelstam in his poem connected Gothic with "Egyptian power": Egyptian structures are the power of the material expressing heaviness, and Gothic buildings are the power of space, overcoming this heaviness.

Summarizing the above in relation to the architect's work, we can say that the essence of the scale system is that by adjusting the degree of fragmentation of the volume, it is possible to control manifestations of its size in human perception, that is, to increase, decrease or reveal equivalently to the real physical size. The architect chooses one way or another to synthesize the size of a building and its perception by a person, depending on the nature of the mythological eidos he embodies. Here are some more examples from classics and modern times. We find many variants of "direct correspondence of proportional scale characteristics of architecture to the size of the human body in the ancient experience… <…> However, the ancient Greeks, and after them the Romans, creating spaces for human habitation and activity adapted to man and commensurate with him, never forgot that the house of god – a temple – must have different qualities and a different scale than a human dwelling, so that a person entering a temple feels that he is not going to his own house, but to the house of god.28"

In modern architectural practice, there are examples of other applications of the scale system, related not to mythological attitudes, but to the development of architectural science as such. Thus, one of the main provisions of Soviet rationalism, put forward by N. Ladovsky, was "saving mental energy in the perception of spatial and functional properties of a structure.29" According to this thesis, the architect should make every effort to ensure that the geometric characteristics of the building are read as adequately as possible. The opposite approach is observed, for example, in the works of the Finnish architect Reima Pietilä, who does not open the entire structure and suddenly amazes those who enter with the vastness of the interior spaces.

Let's also note that the relativity of scale system consists in its dependence on the age of the perceiving person, on his height, as well as on the specific features of the process of visual perception of forms and spaces30.