Astronomical knowledge in the architecture of ancient Tashkent. Architectural aspects Astronomical symbolism in the architecture of the Middle East
Fight threats inherent in the network environment using universal means operating systems does not seem possible. A universal OS is a huge program that most likely contains, in addition to obvious errors, some features that can be used to illegally gain privileges. Modern technology programming does not allow making such large programs safe. In addition, an administrator dealing with a complex system is not always able to take into account all the consequences of the changes made. Finally, in a universal multi-user system, security holes are constantly created by the users themselves (weak and/or rarely changed passwords, poorly set access rights, an unattended terminal, etc.). The only promising path is associated with the development of specialized security services, which, due to their simplicity, allow formal or informal verification. A firewall is just such a tool, allowing further decomposition associated with servicing various network protocols.
The firewall is located between the protected (internal) network and the external environment (external networks or other segments of the corporate network). In the first case we talk about external ME, in the second – about internal ME. Depending on your point of view, an external firewall can be considered the first or last (but not the only) line of defense. The first is if you look at the world through the eyes of an external attacker. The latter - if we strive to protect all components of the corporate network and suppress illegal actions of internal users.
A firewall is an ideal place to embed active auditing capabilities. On the one hand, at both the first and last defensive line, identifying suspicious activity is important in its own way. On the other hand, ME is capable of implementing an arbitrarily powerful reaction to suspicious activity, up to and including breaking the connection with the external environment. However, you need to be aware that connecting two security services could, in principle, create a gap that could facilitate accessibility attacks.
It is advisable to entrust the firewall with the identification/authentication of external users who need access to corporate resources (supporting the concept of single sign-on to the network).
By virtue of principles echelon of defense Two-piece shielding is typically used to protect external connections (see Figure 12.3). Primary filtering (for example, blocking packets of the SNMP management protocol that are dangerous due to availability attacks, or packets with certain IP addresses included in the “black list”) is carried out edge router(see also the next section), behind which is the so-called demilitarized zone(a network with moderate security trust, where external information services of the organization are located - Web, Email etc.) and the main firewall that protects the internal part of the corporate network.
Rice. 12.3. Two-component shielding with demilitarized zone.
Theoretically, a firewall (especially internal) must be multi-protocol, however, in practice, the dominance of the TCP/IP protocol family is so great that support for other protocols seems to be an overkill that is harmful to security (the more complex the service, the more vulnerable it is).
Generally speaking, both external and internal firewalls can become a bottleneck as the volume of network traffic tends to grow rapidly. One of the approaches to solving this problem involves dividing the ME into several hardware parts and organizing specialized intermediary servers. The primary firewall can roughly classify incoming traffic by type and delegate filtering to appropriate intermediaries (for example, an intermediary that analyzes HTTP traffic). Outgoing traffic is first processed by an intermediary server, which can also perform functionally useful actions, such as caching pages of external Web servers, which reduces the load on the network in general and the main firewall in particular.
Situations when corporate network contains only one external channel are the exception rather than the rule. On the contrary, a typical situation is when a corporate network consists of several geographically dispersed segments, each of which is connected to the Internet. In this case, each connection must be protected by its own shield. More precisely, we can consider that the corporate external firewall is composite, and it is necessary to solve the problem of consistent administration (management and auditing) of all components.
The opposite of composite corporate firewalls (or their components) are personal firewalls and personal shielding devices. The first are software products that are installed on personal computers and protect only them. The latter are implemented on individual devices and protect a small local network, such as a home office network.
When deploying firewalls, you should follow the principles we discussed earlier architectural security, first of all taking care of simplicity And controllability, about the echelon of defense, as well as about impossibility of transition to an unsafe state. In addition, it is necessary to take into account not only external, but also internal threats.
Classification of firewalls
When considering any issue related to networking, the ISO/OSI seven-layer reference model serves as the basis. It is also advisable to classify firewalls by filtering level - channel, network, transport or application. Accordingly, we can talk about shielding concentrators(bridges, switches) (level 2), routers(level 3), transport shielding (level 4) and application shielding (level 7). There are also comprehensive screens that analyze information at multiple levels.
Information flows are filtered by firewalls based on set of rules, which are an expression of the network aspects of an organization's security policy. These rules, in addition to the information contained in the filtered streams, may include data received from the environment, for example, the current time, the number of active connections, port, through which the network request came, etc. Thus, firewalls use a very powerful logical approach to restricting access.
The firewall's capabilities are directly determined by what information can be used in filtering rules and how powerful the rule sets can be. Generally speaking, the higher the level in the ISO/OSI model at which the firewall operates, the more meaningful information is available to it and, therefore, the finer and more reliable it can be configured.
Shield routers (and hubs) deal with individual packets of data, which is why they are sometimes called packet filters. Decisions about whether to skip or delay data are made for each packet independently, based on an analysis of addresses and other header fields of the network (link) and, possibly, transport layers. Another important component of the analyzed information is the port through which the packet arrived.
Shielding concentrators are a means not so much of access control, but of optimizing the operation of a local network by organizing so-called virtual local networks. The latter can be considered an important result of the use of internal firewalling.
Modern routers allow you to associate several dozen rules with each port and filter packets both in and out. In principle, a universal computer equipped with several network cards can be used as a packet filter.
The main advantages of shielding routers are their affordable price (a router is almost always needed at the edge of networks, the only question is how to use its shielding capabilities) and transparency for higher levels of the OSI model. The main disadvantage is the limited information analyzed and, as a consequence, the relative weakness of the protection provided.
Transport shielding allows you to control the process of establishing virtual connections and the transmission of information over them. From an implementation point of view, the shielding transport is a fairly simple and therefore reliable program.
Compared to packet filters, transport screening has more information, so the corresponding firewall can exercise finer control over virtual connections (for example, it can monitor the amount of information transferred and terminate connections after exceeding a certain threshold, thereby preventing unauthorized export of information). Likewise, it is possible to accumulate more meaningful registration information. The main disadvantage is the narrowing of the scope, since datagram protocols remain out of control. Typically, transport shielding is used in combination with other approaches, as an important additional element.
A firewall operating at the application layer can provide the most reliable protection. As a rule, such an ME is a universal computer on which functions screening agents, interpreting application layer protocols (HTTP, FTP, SMTP, telnet, etc.) to the extent necessary to ensure security.
When using applied MEs, in addition to filtering, another important aspect of shielding is implemented. Entities on the external network see only the gateway computer; Accordingly, they only have access to the information about the internal network that he considers necessary to export. The applied firewall actually screens, that is, obscures, the internal network from the outside world. At the same time, it seems to the subjects of the internal network that they are directly communicating with objects in the outside world. The disadvantage of application MEs is the lack of full transparency, requiring special actions to support each application protocol.
If the organization has source texts applied ME and is able to modify these texts, extremely wide opportunities open up for her to customize the screen taking into account her own needs. The fact is that when developing systems client/server in multi-tier architecture Specific application protocols are emerging that need protection no less than standard ones. The approach based on the use of shielding agents allows you to build such protection without reducing the security and efficiency of other applications and without complicating the structure of communications in the firewall.
Complex firewalls, covering levels from network to application, combine the best properties of “single-level” firewalls different types. Protective functions are performed by complex MEs in a manner transparent to applications, without requiring any changes to the existing software, nor in actions that have become habitual for users.
The complexity of ME can be achieved in different ways: “bottom-up”, from the network level through the accumulation of context to the application level, or “top-down”, by supplementing the applied ME with mechanisms of the transport and network layers.
In addition to expressive capabilities and the allowed number of rules, the quality of a firewall is determined by two more very important characteristics - ease of use And own security. In terms of ease of use, a clear interface for defining filter rules and the ability to centralized administration composite configurations. In turn, in the last aspect, I would like to highlight the means of centralized loading of filtering rules and checking a set of rules for consistency. Centralized collection and analysis of registration information is also important, as well as receiving signals about attempts to perform actions prohibited by the security policy.
The firewall's own security is ensured by the same means as the security of universal systems. This refers to physical protection, identification and authentication, access control, integrity control, logging and auditing. When performing centralized administration, care should also be taken to protect information from passive and active network eavesdropping, that is, to ensure its (information) integrity and confidentiality. It is extremely important to promptly apply patches that eliminate identified ME vulnerabilities.
I would like to emphasize that the nature of shielding as a security service is very deep. In addition to blocking data flows that violate security policies, a firewall can hide information about the protected network, thereby making it more difficult for potential attackers. A powerful method of hiding information is broadcast"internal" network addresses, which simultaneously solves the problem of expanding the address space allocated to the organization.
We also note the following additional firewall capabilities:
Content control (anti-virus on-the-fly control, verification of Java applets, identification of keywords in electronic messages, etc.);
Execution of functions Middleware.
The last of these aspects is particularly important. Middleware, like traditional application-layer firewalls, hides information about the services being provided. Due to this, it can perform functions such as request routing And load balancing. It seems quite natural for these capabilities to be implemented within the firewall. This greatly simplifies efforts to ensure high availability of exported services and allows switching to spare capacity in a manner transparent to external users. As a result, support for high availability of network services is added to the services traditionally provided by firewalls.
An example of a modern firewall is presented in the article “Z-2 - a universal firewall of the highest level of protection” (Jet Info, 2002, 5).
, , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , 63 , , , , , , , , , , , , , , , , , , , , , , , , , , ,
Messages from space aliens
A quick glance at the faces of the stone giants of Easter Island is enough to understand: this type of people does not exist on Earth. Long faces, long ears, deep-set eyes. Peer into the time-scarred face of the Great Sphinx. Earthly inhabitants do not have such proportions of face and eyes. What if both the Sphinx and the stone Gullivers from Easter Island are nothing more than sculptural portraits of aliens who built a complex of large pyramids standing nearby and inhabited a small island lost in the ocean with stone giants?
A physicist from Omsk, V. Romanov, once asked such a serious question. Starting from this hypothesis, he reasonably notes: “If a visit to our planet by messengers from other worlds really took place, then the aliens certainly had to leave some material traces of their visit.” And these traces must be very noticeable, attracting attention, otherwise the meaning of the unspoken signal: “We were here!” is lost. In this regard, researchers were primarily attracted by ancient architectural structures, which, most likely, are the material signature of the aliens. Among the ancient buildings there are many that are notable only for their unusual architecture, but there are also such ancient buildings that, in addition to architectural features, represent the so-called astronomical aspect, i.e., a certain orientation relative to the Sun, Moon and some stars in the sky. From this fact, astroarchaeologists once made an erroneous conclusion, believing that ancient people were able to observe celestial bodies and used the knowledge thus obtained to count days and create a calendar, so necessary for economic activity. Archaeologists, on the contrary, believed that primitive people were characterized by “original” stupidity, i.e. low cognitive culture, which did not allow them, in the harsh conditions of the struggle for existence, to observe the celestial bodies at such a high level as was found in ancient structures with an astronomical aspect. The conclusion suggests itself: apparently, it should be recognized that it is precisely the ancient structures that have survived to this day on Earth that are the material traces of visits to the Earth in the distant past by messengers from other worlds. If the aliens wanted (and they certainly wanted it) for us, the inhabitants of the Earth, to notice traces of their presence, then we should look for a code, a key, a capsule, and finally, which should contain the necessary information about the purposes of visiting Earth, about the civilization that sent the UFOnauts to such a long journey to the Earth, and the earthlings of that historical period. This is what intelligent beings would do, and there is no doubt that they are intelligent.
So, the capsule. It, undoubtedly, should be associated with stone structures of antiquity with symbolization of the parameters of the solar system, and the calculation was made that the time would come when earthlings would reach that high level of development that is necessary in order to find this capsule, and even more - in order to be able to decipher the information contained in it. Following logic, we can assume that the main content of the information is how to establish contact with them and, first of all, radio contact or telepathic contact. Analyzing the features of ancient structures, researchers identified at least three types. Some serve as a kind of “indicating signs”, others as “reference bodies” for detecting an alien capsule, and others as storage facilities. It is in the latter that one should look for the alleged capsule.
Since the aliens assumed that the capsule would be stored for a long time, and that millennia would pass before the earthlings were “ripe” for contact, the capsule was placed on a scientific basis and at a high engineering level so that it would not be discovered before the deadline. “Indicators” of the place of “burial” of the capsule may well serve as: an airstrip in the Andes, drawings on the ground in the Nazca desert, statues on Easter Island in the Pacific Ocean.
“Reference bodies” are structures such as the English Stonehenge or the complex of the Egyptian pyramids of Cheops, Khafre and Mikerin, including the Great Sphinx located next to it. The “storages” of alien capsules (or one capsule) are most likely the step pyramids of Djoser in Saqqara and the Luni in Medum. On one of the slopes of the Andes, facing the ocean, a huge sign is inscribed - a trident. If you fly in the direction he indicated, you will soon be able to land on a runway made of large stone slabs located at the top of the mountain. The premise is this: fly in the indicated direction, land on a strip prepared for you, and at the end of it, dig to a depth equal to the length of the strip. There you will find an alien capsule. The length of the strip is 78 meters.
If you are looking for the desired capsule using structures related to “bodies of reference,” then you should pay attention to the plan of the cromlech (fireplace circle) of Stonehenge. In the center of this circle, or rather several concentric circles, there once lay the Altar Stone, which was a surface coordinate. The depth coordinate is equal to the distance from the indicated center to the so-called Heel Stone located in the east outside all circles. The distance between them is 78 meters.
If you start from the “storehouses” - step pyramids - you should be transported from foggy Albion to the hot Libyan desert in Egypt, where the mysterious Great Sphinx, grandiose even by modern standards, and the complex of giant stone pyramids guarded by it have long been competing with time for strength. In the diagram, the point of intersection of the diagonal lines of the pyramids - the main one, on which the pyramids of Cheops and Chephron stand, and the auxiliary one with the pyramid of Mikerinus - is nothing other than our Sun, or rather, its symbol. This point is the surface coordinate. The depth coordinate is equal to the distance from the point of the “Sun” to the Mykerinus pyramid installed on the auxiliary diagonal line. Measuring this segment, we get the same magical 78 meters as at Stonehenge, and at the statues on Easter Island, and, perhaps, in all other cases known to Western literature.
I wonder why 78 meters appears in all cases? It turns out that the whole point is that groundwater is located above, and artesian water is below. Everything is thought out with enviable professionalism, taking into account all possible and impossible vicissitudes. One can only wonder: why, having many times calculated coordinates, humanity has not yet bothered to overcome these 78 meters in depth in order to master the invaluable information intended for it, which, perhaps, was intended to bring something important into human existence, capable of changing the life of an entire civilization , to get in touch with a cosmic community that is wiser, more evolved, more spiritual. Otherwise, why would the aliens invest so much energy and effort on planet Earth, where they were just guests?
Who knows, maybe that is why at the official level (Space-Earth) contact-commonwealth, contact-mutual assistance, contact-mutual understanding never took place. There were and are individual attempts by single contactees to establish some kind of connections with the Cosmos, but an artisanal method in such a global enterprise as the contact of worlds is capable, at best, of giving only a result of local significance, local, without significant consequences. There are plenty of such contacts known. The option with the proposed capsule, apparently, was conceived at a completely different level and assumed multifaceted interaction, without which in modern conditions neither the Earth nor the Cosmos is able to develop normally. This contact is also important because it can prevent humanity from attempting to cross that fatal threshold in its development, after which “games” with such phenomena as atomic energy and ecology, having gotten out of control, will take on an irreversible character, the consequence of which could be nothing. more and no less than the death of earthly civilization.
Let's hope that all is not lost. There is still time, there are technical capabilities and there is a desire of humanity to finally learn about the mysterious contents of those capsules left by space aliens to earthlings when they were still in virgin primitiveness.
Add your review
Lecture plan.
1. Basic concepts of architecture .
2. Objectives of architecture.
1. Basic concepts of architecture.
Construction is one of the most ancient types human activity, which means that the foundations of architecture were laid many thousands of years ago.
The beginning of architecture as an art appeared at the highest stage of barbarism, when not only the laws of necessity, but also the laws of beauty began to operate in construction.
Over the many millennia of its existence, architecture has been understood and defined in different ways, but always depending on the tasks that were set before it at a specific historical stage in the development of society.
Word " architecture" comes from the Greek word " architecton", What means " chief builder." Its synonym is Russian “ architecture"from the word create.
The classic definition of architecture was the phrase “ the art of building buildings”, as well as the definition of the architect’s tasks given by the Roman architectural theorist (1st century AD) Marcus Vitruvius:
“... All this must be done taking into account strength, usefulness and beauty.”
And if these tasks in the construction sense, of course, are important for our time, then the definition, of course, does not characterize what modern architecture does.
To one degree or another, the definitions of architecture are:
“Architecture is the art of organizing space, and she realizes herself in construction.” Auguste Perret.
“Architecture is also a chronicle of the world: when songs and legends are already silent and when nothing speaks about the lost people” N. Gogol.
Among the definitions of data architecture at different times different people and often there are people who are not architects:
Architecture is an art that reaches the divine.
Architecture is a decoration that is built.
Architecture is the song of an agitated mind.
A number of other defining tasks of architecture can be identified:
architecture - light,
architecture - construction,
architecture - environment,
architecture is an activity.
It is probably impossible to define architecture one-sidedly. It becomes clear that this is a complex phenomenon, where qualitatively different materials and spiritual phenomena are intertwined and fused together. Those. We are dealing with a complex subordinate system. And probably in In architecture, both the material and the spiritual appear in dual unity. Moreover, this is what is most important. These aspects of architecture are not equivalent. Material things are of decisive importance for society. We are interested in architectural structures and complexes, entire cities and towns as a spatial environment for the life processes of society. At the same time, architectural structures and ensembles have a unique expressiveness and are works of architectural art.
Therefore, when considering the definition of architecture, based on the tasks facing it at this stage of historical development, we will be based on the following definition:
Architecture- these are architectural structures and complexes created in the process of design and construction, in which the spatial organization of work, life and culture is created by engineering and constructive means, and at the same time a unique specific expression of this environment as art arises.
This definition can be conditionally formalized in the form of a diagram.
A – architectural concept and design Architectural design is an area of spiritual production, the required combination of engineering and social calculations with artistic creativity.
с– construction(material production) – is realized in structures, but is not reduced to them.
So, architectural design models, construction implements (and society is not interested in the structures themselves, but in the space that they enclose).
The second aspect of architecture as a system is the architectural object (environment).
The material and technical nature of construction is directly realized in the engineering and structural basis of structures ETC– strength. A real architectural structure is unthinkable without engineering structures, but it cannot be reduced to them.
The situation is much more complicated in determining the social nature of the purpose of residential and public buildings.
The difficulty here is that the social processes taking place in a home, school, theater are qualitatively diverse. And yet, in this broad sphere, which Vitruvius designated with the capacious word “benefit,” there is a certain commonality: all buildings and structures are brought to life by social needs, created as a result of construction as a type of production of material goods, and are precisely material goods.
P – benefit, social-functional basis.
Thus, the main social purpose of architectural structures is to represent material (and cultural) benefits that serve for the spatial organization of almost all social processes - work and life, entertainment and culture, etc. This is the main material function of a wide variety of architectural structures.
U - utilitarian(practical) functions.
But architectural structures must also have artistic qualities - A – “architecture as art”. The artistic side of architecture to a greater extent expresses the social purpose of different types of buildings, the structural structure (tectonics) of buildings, as well as a number of general social and artistic ideas: humanism, democracy, ideas about the aesthetic ideal of the era “ frozen music" That. architecture should always and naturally be art and, therefore, a cultural good, creating artistic values.
The main thing in architecture for society is the dual unity of social material purpose and artistic expressiveness. However, it happens that architects forget about this and, as a result, either fall into the sin of decorativism, embellishment, eclecticism (late 30s and 40s) - Soviet architects erected workers' clubs in the form of landowners' mansions, etc. or neglect. artistic expressiveness led to the simplification of “naked” constructivism – “cheremushki”.
Setting the main task of organizing material space for practical purposes, architecture simultaneously serves as a means of emotional influence on a person, thus satisfying not only his material, but also spiritual needs, in particular aesthetic ones, being one of the types of art.
The significance of architecture as a factor influencing the consciousness of people in public life and in everyday life is determined by its everyday, inevitable, continuous impact on people. A person lives, works, and rests, constantly experiencing its influence. This is the difference between architecture and other types of art that have a temporary effect that can be regulated.
Architecture is determined by the conditions in which it arises and develops, and primarily by social relations, as well as material factors - the level of development of productive forces, the state of construction equipment, and natural conditions. The socio-economic conditionality of architecture helps to identify the characteristics and features inherent in each social system. This is reflected in the predominance of certain types of structures, their functional content, and methods of solving aesthetic problems. Imaginative expressiveness, the ability to influence feelings, and through them the consciousness of people, makes architecture a serious ideological weapon. This property of architecture was widely used by the ruling classes in different historical eras. Thus, the architecture of Ancient Egypt was a reflection of the technocratic, absolute system, the dominance of the priestly caste. Monumental structures (for example, pyramids) were designed to assert the power of deified rulers.
The architectural image of the designed object is often revealed with the help of monumental art: painting, sculpture. And in this sense, architecture is a synthesis of the arts, construction and monumental.
Architectural image- the ideological and material essence of the structure revealed by artistic means; artistic expressiveness of the object.
The basis of the architectural image is architectural composition.
Architectural composition– the relationship of volumetric-spatial and planning elements of a building (structure) or environmental elements connected by ideological concept and purpose.
The artistic expressiveness of the building is based on the laws architectonics.
Architectonics- an artistic method of composition, built on the unity of constructive and artistic-figurative forms.
The functional, constructive and aesthetic features of architecture have changed over the course of history and are embodied in architectural style.
Architectural style- a set of main features and characteristics of architecture of a certain time and place, manifested in the features of its functional, constructive and artistic aspects (techniques for constructing plans and volumes of building compositions, building materials and structures, shapes and decoration of facades, decorative design of interiors).
From ancient times until the mid-19th century, the dominant structural basis of architecture was the post-beam system.
The principle of combining vertical-support and horizontal-beam remains unchanged in the light wooden columns of the Chinese and Japanese pavilion house, and in the massive columns of Egyptian temples, reaching 20 m in height and similar in shape to a lotus. Decorativeness, characteristic of the architecture of the early period of its development, is an attempt to hide and decorate the post-and-beam structure behind forms borrowed from nature. For many centuries, architects did not dare to reveal the austere beauty of the structure itself. For the first time, it became possible to open the structure in Ancient Greece, the birthplace of the architectural order.
Architectural order– an artistically meaningful order of placement of load-bearing and non-supporting elements of a post-and-beam structural system, their structure and artistic processing.
The forms of the ancient order are universal in relation to the material: they reproduce the work of a post-and-beam structure in stone, wood, and concrete.
However, despite all the aesthetic harmony of the ancient order, the possibilities of its application are limited by the relatively small size of the span being covered. To develop this task, the Romans for the first time combined an order with a wall and turned to the experience of the countries of the Ancient East, Mesopotamia, and Persia, for which domed roof structures were traditional.
The concrete dome of the Roman Pantheon (125 AD) with a base diameter of 43 m became the first large-span structure in human history.
Dome– a spatial supporting structure of the coating, in shape close to a hemisphere or other surface of rotation of a curve (ellipse, parabola, etc.). Dome structures allow you to cover large spaces without additional intermediate supports.
Arcade– a series of arches of the same size and shape, interconnected, supported by columns or pillars; has found wide application in the construction of open galleries and bridge supports.
Order arcade– arcade in combination with an invoice order.
Arcatura– wall decoration in the form of a series of decorative arches.
Nurulin Timur
Nurulin T. S. Astronomical knowledge in the architecture of Ancient Tashkent // Architecture and construction of Uzbekistan. – Tashkent, 2012. - No. 1. – pp. 23-25.
“Geometry is the letter of the human soul,” the ancients said.
I'm sure that inThe 21st century will unite like the achievements of modern civilization,
so is the entire experience accumulated by mankind in constructing an architectural form.”
Bulatov M.S.
Preface. In science, attention to the ancient monuments of Tashkent is most often of a historical and archaeological nature. The clearest picture of architecture The Tashkent oasis “looms” starting from the V -VIII centuries. AD ( Nielsen V.A. The formation of feudal architecture in Central Asia. Tashkent, 1966). Archaeological research in recent years at two unique monuments (Shashtepa and Mingurik, hereinafter referred to as Tashkent Afrasiab) allows us today to speak with confidence about the architectural features of ancient Tashkent. This work proposes a new approach to the study of the ancient architecture of Tashkent in the context of the relationship: Space-Society-Architecture, which will enrich the public’s understanding of the ancient past of our city, and will allow these monuments to take their rightful place in the history of architecture.
Relationship: Man - Universe. Architecture as a reflection of these relationships. It is known that ancient people knew astronomy and mathematics, but not everyone thinks about how strong this knowledge was and how integrated it was with all areas of their lives. Astronomy was closely connected with religion, hence with customs and traditions, and therefore also with architecture. The gaze of the ancient man was always directed to the sky. His life largely depended on the location of the heavenly bodies. All ideological ideas, in turn associated with the Cosmos, were expressed in the layout of temple buildings and their orientation. The architecture of antiquity for us acts as a chronicle of that time, especially since the surviving written sources are few in number and date back to a later time. Nothing disappears without a trace, especially traditions and experience. And the Middle Ages, as a direct “heir” of antiquity, being a connecting “bridge”, can undoubtedly help us in understanding the distant past.
The author of “Shakhname” (late 10th – early 11th centuries) has a reflection on the universe: “The earth (divided) into six (parts), the sky into eight.” This poetic metaphor retained the style of old magical formulas. Their former meaning - old formulas expressing the mechanics of the Universe, was brought into connection with the successes of medieval applied geometry. Later, the elements of mysticism contained in these formulas were picked up and developed by the teachings of the Sufis.
In the Sufi cosmogony of Feridedddin Attar, the movement of the worlds appears as an act of the artist-creator, who “turned the compass around the potency of the soul... From the turn of the compass, the existence of a point took the form of a circle... When the seven celestial spheres began to move, they created four out of seven, and three out of four, out of four and three they laid a foundation for us.”
These ideas were expressed in the construction, mainly, of religious buildings, where the diagonal of the square was the starting point. These constructions were known in ancient times. Further, using the examples of the ancient temples of Shashtepa and Tashkent Afrasiab, located along the banks of the Salaro-Jun water system of Tashkent, as well as the observatory of the underground cell of Zainutdin Bobo (the village of Kui-Arifon), we will see: there is a direct continuity of medieval approaches to the construction of architectural forms from the experience of architects antiquities.
Geometry of buildings. Astronomical analysis.
The terms “archaeoastronomy” and “archaeoastronomical method” were first introduced into science by Gerald Hawkins. J. Hawkins and Al. Tom conducted his research related to the mysterious cromlech Stonehenge, and put forward the hypothesis that astronomical observations were carried out here in ancient times. This method was widely used by M.S. Bulatov in his studies aimed at identifying the connections between the geometric parameters of the architectural design of Turan - Turkestan with the main earthly space constants, reflecting the movement of the Sun and Moon across the sky, and proves the legitimacy of this method in his work “Tengrinoma”.
The astronomical analysis we carried out on this moment two ancient monuments of Tashkent, was also successful. The relationship between the architecture of the temples of Shashtepa and Tashkent Afrasiab with cosmic constants was established. The following research material will allow in the future to consider the architecture of ancient Tashkent in the general Turanian context of the development of astronomical and architectural knowledge.
Currently, depending on the orientation of the entire structure or openings in the walls relative to the sunrise and sunset of the Sun and Moon on the days of the solstices and on the day of the vernal equinox, as well as based on the study of the geometry of the structure, it is possible to identify the function of the structures, reflecting the ideological and cosmological ideas of the inhabitants of the ancient Tashkent.
Shashtepa Temple has coordinates 41º 13` 54`` N and 69º 11` 19`` E. The structure is a cross inscribed in a double ring of walls. The planning structure of the temple reflects ancient Aryan cosmogonic ideas, where a square and a circle, inscribed within each other, personify the Universe. A quote from V.N. is appropriate in this regard. Kartseva: “In the architecture of the Ancient East, any construction was thought of as an analogue of the Creator’s activity, and therefore cosmological content predominated in the buildings, based on overcoming the kingdom of “evil and lies”, personifying chaos, and creating a “good heavenly abode” on earth.” The entire basis of the existence of each person was considered in a single cosmological process of development of the fight against chaos, which was reflected in the architecture of the early period of historical development of the Ancient East. The square and the circle combined cosmological and theological-historical aspects of man’s perception of the world around him.” Agreeing with these lines, we can conclude: the semantics of the plan of the Shashtepa temple reflects a specific cosmological image.
The entire structure was built in accordance with the cosmological and worldview ideas of people about the structure of the world. It turns out that Shashtepa is a Cosmogram (Mandala). The central square part of the temple (at the first stage) was free from the ceiling. This is the abode of God, the holy of holies of the temple. The bypass corridor is a cult passage through which access was provided to the attached towers of the square. These attached towers personified the 4 elements (Fire, Earth, Water and Air) (N.T.S.). Particularly emphasized is the entrance to the room dedicated to the fire element, as a visible manifestation of God on Earth. Astronomical analysis (see below) made it possible to clarify the assumption of the existence of three towers in the eastern part of the ring wall, which, as it turned out, personified cosmic constants - the Sun and two phases of the Moon (Fig. 1,2). And the ring of the wall itself is interpreted as the Universe.
The central square of the structure, the main diagonal axis of which is directed to the North Star, is strictly oriented with its angles to the cardinal points. The surviving arched openings in the eastern and southern parts of the ring wall are oriented towards sunrise, the culmination of the Sun on the day of the vernal equinox. And the entrance directly to the cross, located in the western part of the structure, seems to “catch” the last rays at sunset on that day (Fig. 1).
It was further established that two other openings in the ring wall, leading to the supposed towers, were directed towards the Moon on the days of the summer and winter solstices (Fig. 2). One opening has an azimuth of 65º, and this is the rising of the Moon on the day of the summer solstice, with a declination of the Moon equal to -28º 36`. The second one has an azimuth of 130º, and this is the rising of the Moon on the day of the winter solstice, with a declination of the Moon equal to -28º 36`.
Temple on Tashkent Afrasiab has coordinates 41º 17` 53`` N and 69º 17` 13`` E. In the sequence scale, this temple is next to the Shashtepa temple. When visually comparing the plans of these two structures, it is clear that the volume-spatial and planning solutions are similar (Fig. 4, 5). With the exception of the ring wall in the Afrasiab temple, which was replaced with a rectangular one (a small section was found by archaeologists), and the difference in the shape of the towers attached to the main square: on Shashtepe they are trapezoidal (two large, two smaller), and in the temple on Afrasiab - in the form of semicircular petals. And yet, continuity is obvious.
The diagonal azimuth of the main square of the building is -122º. And this is sunset on the day of the winter solstice, with the Sun’s declination equal to +23º 27` (Fig. 3).
Shashtepa Temple is a prototype of the temple on Afrasiab. Siyavush.
An astronomical analysis of these two monuments shows that in temples the main and very important are the diagonal axes of the squares of the structures (in the future, in the Middle Ages, the diagonal of the square would become the starting point for the construction of structures). If on Shashtepe these diagonal axes are oriented to the cardinal points, then in the temple on Afrasiab we observe a rotation of the building by approximately 29º (Fig. 3), and one of the diagonals is directed towards sunset on the day of the winter solstice at an azimuth of -122º. Why the different approach to the orientation of structures?, after all, we know about the difficulties of changing established traditions, if even more so we're talking about about the same beliefs. But it turns out
next, if today Muslims all over the world orient their temples towards the established shrine - Mecca, then the temples of pre-Muslim cults could have different orientations depending on the cults celebrated in the temple, the way of life of society. For example, it is known that in the Middle East, nomads oriented their structures to the sunrise on the summer solstice, and settled farmers - to the sunrise on the winter solstice. It seems more convincing to us that the different orientations could be associated with the cult of a particular deity (the day of the winter solstice was associated with Siyavush, and the summer solstice with Mithra). Those. The temple in Tashkent Afrasiab is somehow connected with the cult of Siyavush.
The Shashtepa temple also reflects people's idea of the life cycle (birth, culmination, departure, then birth again...). Proof of this is the orientation of the Shashtepa openings to the sunrise, culmination, and sunset on the day of the vernal equinox. Thus, the holiday of Navruz (the day of the vernal equinox) was also a holiday of ancestors: it was on this day, according to the ideas of the ancients, that the ancestors return to earth. The coloring of the temple interiors is also interesting – red ocher. In ancient times, this color was a color symbolizing rebirth. These facts allowed us to believe that the structure of Shashtepa is directly related to the cult of ancestors.
Thus, there is an example of how holidays in honor of the spirits of ancestors merged with the ancient agrarian holiday of dying and resurrecting nature, glorifying Siyavush in Central Asia, as well as in Ancient Egypt- Osiris and in Mesopotamia - Tammuz.
Based on all the data obtained, the Shashtepa monument, in this work, is defined as a Temple - an observatory, reflecting the cosmological principles of the world order, where the main cult was the cult of ancestors, in contrast to the opinion of other researchers that Shashtepa is a temple of fire-sun worshipers.
The planning structure of Shashtepa speaks of the worship of the one Creator and the veneration of his emanations. The version about pagan worship of the Sun or Fire has not been confirmed. As we see, the role of the Sun is included here in the general worldview ideas of ancient people, and is directly related to the cult of ancestors.
As for the temple of Tashkent Afrasiab, it is a follower of the traditions of the Shashtepa temple, marking further transformational processes in the development of the temple architecture of ancient Chach.
Artifacts.
The so-called Kaunchin seals can also serve to support the deep knowledge of the architects of ancient Tashkent in astronomy. The architect and the astronomer were most likely the same person. The positions of the planets and stars were marked on small round seals by the astronomer. These seals are scientifically defined as amulets and amulets.
But a detailed examination of one of them suggested their astral purpose. One of the seals can be interpreted as a calendar of solar and lunar cycles
eclipses (N.T.S.) (Fig. 6). These seals also served as impressions on various surfaces. One thing is known
such an imprint on the hum installed in the bypass corridor of the Shashtepa temple. It depicts 4 fish twisting into a swastika (Fig. 7). There is no doubt that this image carries a sacred meaning.
New information about Chilliakhan Zainutdin Bobo.
Chillyakhana Zainutdin Bobo (Sheikh Zainutdin Bobo (born in 1214) - the son of the founder of the Suhrawardiya Sufi order, was sent by his father to these places from Baghdad to spread the ideas of the Sufi order.) is located in a complex with the mausoleum of the same name. But it is interesting that the chillyakhana has temporal priority over the mausoleum. If the chartak of the mausoleum dates back to the 14th century, and the base of the walls - to the 16th century, then the chillyakhana was built in the 12th century.
Until the mid-90s, only the existence of an above-ground chillyakhana building was known, but during restoration work, a smaller underground room was also discovered. Both rooms are a centric composition consisting of a low octagonal base and topped with a spheroconic dome. The premises are connected by a narrow staircase (manhole). In those same years, it was found that the holes in the domes of the lower and upper rooms are located relative to each other in such a way that on the day of the summer solstice, an observer located in the underground room will see the disk of the Sun at noon (at a declination of 23.5 º) (Fig. 8). This rather unusual information allowed the authors to define chillyakhana as an “Observatory of an underground cell.”
A preliminary inspection of the chillyakhana in the fall of 2011 additionally yielded some interesting results. Both the upper and lower rooms have arched accents in the southwestern side of the complex. In the upper room it is a niche (mihrab), but in the lower room, with the same orientation, it is a low arched opening. It can be seen how archaeologists dug several meters behind the opening in the south-west direction. Because They did not find any obstacles in the form of a wall; we can conclude that this opening underground was not a mihrab. Perhaps this “dromos” pierced through the thickness of the hill (Fig. 9) (According to Pulatov Kh.Sh., there is also a legend about the existence of an ancient underground passage that connected the mausoleum of Zainutdin Bobo and the Kukeldash madrasah). Our astronomical analysis showed that the direction of the lower opening and the outer mihrab indicate sunset on the day of the winter solstice (azimuth 122 º) (Fig. 10). The observer on this day, through the supposed “dromos,” could see the disk of the Sun at sunset.
Subsequently, this observatory received its new purpose (chillakhana). The ground part of the chillakhana was most likely later rebuilt, while maintaining the same orientation, and this dictated the direction of the mihrab.
When examining the underground room, several ancient inscriptions written in Arabic script were noticed on the walls (Fig. 11). They should most likely be attributed to the time of Sheikh Zainutdin Bobo’s life in this cell.
On a new level. The identified cosmological and geometric patterns in the construction of the plans of the Shashtepa temple (Fig. 4) and the temple in Tashkent Afrasiab (Fig. 5), as well as additional data on the observatory in the village of Kui-Arifon (Fig. 10), allow today to highly appreciate the deep knowledge of the architects ancient and medieval Tashkent in astronomy and geometry, which were not only reflected in such unique architectural monuments, but also experienced progressive development in subsequent eras.
Bibliography:
1.Akhrarov I. Ancient Tashkent. Tashkent, 1973. 7. Kartsev V.N. Architecture of Afghanistan. Moscow, 1986.
8. Filanovich M.I. Ancient and medieval history of Tashkent in
archaeological sources. Tashkent, 2010.
Chapter I Processes of semiotization and cosmization of space as a system for modeling the world.
1.1 Formation of a plan of expression and a plan of maintenance of architectural space as a result of its cosmization.
1.2. Myth and ritual as a structural framework of the picture of the world that has developed in the archaic mythopoetic consciousness of man.
1.3. Principles of architectural symbolism.
1.4. The origins of astronomical and temporal symbolism in world culture.
1.5. Solar measurement of the cross of directions.
1.6. Architecture as a series of spatial and temporal references.
Chapter II Astronomical and temporal symbolism in architecture.
2.1. Astronomical symbolism in the architecture of the Middle East.
2.1.1. Cities of the Middle East.
2.1.2. Orientation of buildings in the Middle East.
2.1.3. Cosmological basis for the orientation and placement of the pyramids of Giza and the Great Sphinx.
2.1.4. Symbolism of the sun in Egyptian architecture.
2.1.5. Cosmological significance of the obelisk.
2.1.6. Orientation of buildings in Egypt.
2.2. Astronomical symbolism in ancient Indian architecture.
2.2.1. The temple as a support for the stationary Sun.
2.2.2. The squaring of the circle, the spatiality of time, their symbolism in the Vedic altar and temple.
2.2.3. Correspondence of the human microcosm to the temple microcosm.
2.2.4. Symbolism of Linga in Shaivist temples.
2.3. Cosmogony in ancient Greco-Roman culture.
2.3.1. Formation of ritual sacred space.
2.3.2. Comparative analysis based on the cosmogony of the architectural and urban concepts of Greece and Rome.
2.3.3. Mundus-focus - reproduction of the central sun.
2.4. The symbolic meaning of the spectacular buildings of Greece and Rome, their cosmogonic structure.
2.5. Symbolism of the heavenly dome in Greece and Rome.
2.6. Cross-sun in a Christian church.
2.6.1.Christ as the supreme Sun.
2.6.2. Astral cross in a church building.
2.6.3. Time cycles in the Christian church.
2.6.4. Astral and religious symbolism of the Orthodox Christian Church.
2.6.5. Orientation of Christian churches.
2.7. Cross of directions in Islam.
2.7.1 Astrological symbolism in Islam.
2.7.2. Orientation of the mosque.
2.7.3. Astral symbolism of the Kaaba.
2.7.4. Orientation of the Kaaba.
Chapter III Cosmogonic architecture of modern times. Transformation of architectural world modeling in the modern and post-modern eras.
3.1. Globalization and its impact on architecture today.
3.2. The path of cosmogony in architecture.
3.2.1. Cosmological aspect of the development of architecture until the end of the 20th century.
3.3. The synergy of music, architecture and all other spheres of art with the cosmos as the basis of the eternal principles of harmony.
3.4. Ultra-modern trends in architecture, the emergence of neocosmology.
3.5. The birth of a new paradigm in science as the beginning of the emergence of a new architecture.
3.6. Concepts and typology of neocosmogenic architecture.
Introduction of the dissertation (part of the abstract) on the topic “Semiotic aspects of cosmogony and cosmology in monuments of architecture and urban planning”
The relevance of research
In today's age of globalization, the age of the existence of a complex, multifaceted space, there is an acute question: in which direction should architecture develop further, what are the paths for its development? To answer this question, it is necessary to understand the internal logic and internal meanings of the formation of architectural space. In order to comprehend the laws of modern architecture, it is necessary to turn to ancient architecture, since understanding its internal logic and meaning leads to an understanding of modern architecture and allows us to predict and manage its future development. To understand modern architecture, it is necessary to understand the factors and features that influence its formation.
Archaic ideas about the universe, which for many thousands of years determined the development of architecture and culture as a whole, largely determine this development to this day. In fact, modern humanity has recently moved away from nature, settling in large cities. On a universal human level, we are still quite close to ancient man to try to understand his aspirations, ideas, motivations expressed in works of culture and architecture in particular. However, the continuous development of humanity forces us to look at the laws of formation through the prism of time.
From the very beginning of architecture, any structure - be it the central pillar of a space for rituals, or, for example, ancient Egyptian buildings, the ideal space of a temple or necropolis, was conceived as an earthly reflection of the cosmic order. At the core of any organized settlement is the human desire to create space, as opposed to the chaos of the natural environment. Architectural space is a model of the Universe in the form in which it is perceived by a person in a certain culture, but everywhere architecture is the intersection of the physical and metaphysical worlds. On its way from antiquity to modernity, the architectural space has undergone significant changes. An archaic city is a spatial-calendar text that reflects the structure of the world. At each stage of its development, an architectural or urban planning object absorbs the features of the socio-cultural reality in which it is reproduced. Often an object does not contain a fragment of reality, but a picture of a new world for the era in which it is realized. IN modern world the spherical organization of three-dimensional space around the central position of a person in it is partly combined with virtual flowing and transformed spaces, since centers shift, boundaries blur, and the perception of distance changes due to increased speeds. However, at all times, architecture has contained and continues to contain enduring meanings; it carries within itself knowledge accumulated and generated by man. One of the fundamental knowledge is knowledge about creation, about the structure of the world. For centuries, architecture, through sign-symbolic means, conveys its ideological meaning to people and allows us to understand the inexhaustible phenomenological diversity of the world. IN this study an attempt is made, using the semiotic foundations of cosmogony and cosmology, to penetrate into the essence of architecture: to find in it archaic and universal meanings, universal human ideas, to understand the vision of the world that unconsciously and consciously guided the creative impulse of the architect. Consideration of architecture from this position leads to an understanding of the internal logic of the development of architectural form and architectural space, an understanding of the process of their origin, formation and continuous development.
By creating a special form or space, the architect reproduces in it the worldview characteristic of the surrounding socio-cultural reality. In turn, the content of architectural form and space relays itself outward through images and symbols present in the structure of the building, on the facades, and in various architectural elements. In addition, the content is often projected inside individual architectural monuments: onto the inner surface of a dome or ceiling, onto walls, floors, and manifests itself in the space itself, say a temple, in the form of new architectonic, pictorial, symbolic forms.
The first buildings are buildings of religious, sacred architecture. The plan and shape of any sacred building from the first buildings onwards: church, mosque, temple to a deity, etc. reproduce the cosmic celestial order. The dome is always the vault of heaven. An icon, mihrab or mandala symbolizes the eternal light, in which the human soul is reflected in its spiritual ascent to the divine light.
The peculiarity and universality of architecture lies in the fact that it separates culture from nature and combines time and space (see Appendix 1, Fig. 3).
Ideas about time can be formulated as follows: on the one hand, time is cyclical - it constantly begins, but on the other hand, the past is endless, like the future, thus time is an indivisible unity. In architecture, time is imprinted not linearly in continuation, but discretely - in moments clothed in form.
Being at the intersection of such categories and the most important forms existence, like space and time, architecture depicts history, which gives form to eternity. At the same time, architecture is a frozen moment in time, a time now, in which the past carries the future through the chronological present. Time is “transferred” into stone, representing the finished product of human activity. If history has a changeable and unstable rhythm, tradition, on the contrary, seems to be unique and unchangeable. Thus, history and tradition are certainly present in architecture, joining forces with technical capabilities (see Appendix 1, Fig. 2).
Architecture is the life of form in matter. The reflection of the ideal model of the “world mountain” in the form of a mandala, pyramid, church, altar-altar and any religious architectural structure is present everywhere. These are fundamental elements of sacred cognition, a means of conveying meanings that reflect the structural framework of the spatial picture of the world. They are the guardians and transmitters of fundamental human knowledge, clots of energy, and they are embodied in perfect geometric forms. In an architectural work, at the intersection of religious feeling and material ideal, a technical phenomenon arises, which is a mechanism for the unfolding of cosmic drama on earth.
Divine pyramids and golden pagodas, temples and rings of cromlechs, huge domes and beautiful churches - in a word, everything that is astronomically and symbolically subordinated, everything that has a center and the power emanating from it - all this is an expression of the cosmic order and its mythopoetic trace .
True works of architecture, which can rightfully be called wonders of the world, are bearers of integrity and infinity. Sacred buildings, from which, in essence, all architecture comes, are intermediaries between man and space, heaven and earth. They contain the magic of the circle and the square, and they carry within them the infinity of time. We can say that space is a form of time, just as time is a form of space. A religious building located at this intersection, filled with symbolic meaning, passing through time and space, is nothing more than an imago mundi - an image of the world. The mystery of the geometric form - an instrument of architecture - originates in the “spatial” cycle of time and in the rhythm of the unfolding space. Sacred architecture is generated by space and time.
Since architecture contains and transmits a certain meaning, it is necessary to find semiotic mechanisms that allow us to decipher the messages. The study of the semiotic aspects of cosmogony and cosmology, which have formed the basis of architecture since its inception, allows us to identify certain patterns and, accordingly, understand the significance of what is hidden in the form.
Knowledge about the world, systematized over the past few centuries in scientific discoveries - the laws of nature, has existed in human culture for many millennia. They have always, from the very appearance of man on earth, harmoniously entered into his holistic worldview and, as conscious or unconscious ideas, were formed in his creativity, in particular, spatial ones. And today, traces of the most ancient ideas about the universe can be found in the buildings of any human settlement. Disclosure of principles based on cosmic harmony that allow creating harmonious architecture in different times from antiquity to modern times, will allow architects to take them into account when creating space. It is possible to analyze the universal human vision of the world and its reproduction in architecture only at the intersection of various fields of knowledge, since this aspect is very multifaceted and ambiguous.
Thus, the topic of the work is at the intersection of several sciences: cosmogony, cosmology, philosophy, architectural studies, semiotics, mythology, cultural studies. Previously, scientists considered the problems of semantics, cosmogony and cosmology of architecture, but these studies concerned a certain time period, and were carried out, as a rule, in one of the listed areas, respectively, they had one approach, either descriptive, or historical, or cultural. At each new round of their development, culture and architecture, in particular, are referred to the images and ideas they have already created. Perhaps today there is a need for a new holistic, logical explanation of the idea of the world. One way may be to study architecture, its content and expression, encrypted in cosmological and cosmogonic symbolism. This was one of the reasons for conducting the presented dissertation research, where we turned to architectural monuments in order to trace the presence in them of the foundations of the universe contained in their structure and individual elements, moreover, to trace in chronological sequence from the origin of architecture to the present day and to analyze the logic and meanings, principles and methods of forming architectural space, their significance and influence on the architecture of the future.
The scientific and theoretical basis of the study consists of sources from domestic and foreign scientists, among which the first block can be attributed to research on the theory of architecture and semiotics of space. Among them are works by A.A. Barabanova, E. Dalfonso, C. Janks, I. Dobritsyna, E. Zheleva-Martins, V.I. Iovlev, D. King, E.N. Knyazeva, S. Kramrisch, A. Lagopoulos, A. Levi, Yu.M. Lotman, N.L. Pavlova, A. Snodgrass, D. Samsa, M.O. Surina, S.A. Matveeva, S.M. Naples, J. Fraser, L.F. Chertova and other researchers.
These literary sources examine specific spatial means of meaning formation and expression, establish semiotic patterns of connection between form and its meanings and content, and examine the semiotics of space in various aspects. The works of A. A. Barabanov provide the foundations of semiotic language in architecture, and also examine the semiotic meaning of various architectural images in various aspects, in particular in cosmological and cosmogonic, semiotic problems of shape formation in architecture are studied. The works of A. Lagopoulos are devoted to the semiotics of urbanism of ancient cultures. The author examines the history of urbanism, exploring in it the forms of organization of space in pre-industrial societies. In the research of A. Lagopoulos, the specifics of the historical semiotics of space are determined: the relationship between the signified and the signifier, the peculiarity or equivalence of symbolism, its universality or interchangeability. The works of A. Snodgrass, N. L. Pavlov, E. Zheleva-Martins explore ancient architecture, the patterns of its origin, the process of the emergence of an architectural form from space, the internal logic of architecture and the meanings initially embedded in works of architecture, as well as examples of often unconscious ideas of humanity about integrity, about a harmonious universe, embodied in architecture. In general, the works of all authors assigned to this block are aimed at establishing general patterns of connection between form and its meaning.
The second block of research consists of works on mythology, cultural studies, and art criticism by A. Andreeva, E. V. Barkova, V. Bauer, L. G. Berger, T. Burchard, R. Bauval, G. D. Gachev, S. Golovin, B. Dzevi, I. Dumotsa, A. V. Zhokhov, S. Kramrisch, V. M. Roshal, S. A. Tokarev, G. Hancock, M. Eliade, etc. All of them are significant for this study, because are associated with the semiotics of space in various aspects: architectural and historical, socio-cultural, literary, and art.
In addition, articles from periodicals on architecture, materials from conferences and congresses dedicated to architecture and semiotics of architecture were used.
Research hypothesis. It is assumed that architecture is a reflection of the cosmic order on earth. In the first works of architecture, man unconsciously embodied ideas about an integral harmonious universe. From these unconscious ideas and initial meanings, all further architecture was generated. Architecture (from antiquity to the present day) contains human ideas about the universe, which for thousands of years have determined the development of architecture and culture as a whole.
The object of study is architectural space and form. Architecture, being at the junction of the most important forms of existence - space and time, is an earthly reflection of the cosmic order. In the work, architecture is viewed through the prism of time and space, being filled with symbolic meanings and representing an image of the world - imago mundi.
The subject of the study is the semantic, formative content of architecture, based on the disclosure of cosmological and semiotic concepts through which the picture of the world is transmitted in space and time. Cosmological, cosmogonic, semantic patterns in the constantly developing system of shape formation in architecture are also studied.
The purpose of the study is to identify cosmological patterns and principles of the formation of space and form, to reveal the meanings of architecture that reflect a person’s idea of the universe. Revealing the fact of the presence and role of cosmology and cosmogony in architecture and urbanism.
In accordance with the goal, the following tasks were set and solved:
1. consider the semantics of cosmogonic and cosmological processes in the world modeling system in architecture and urban planning;
2. show the place of architecture in the context of all cultural symbols, and identify their coinciding meanings;
3. establish the fact of commonality and relationship between the internal logic of architecture and the principles of its formation;
4. consider the principles of architectural symbolism, determine their connection with the physical movements of astronomical bodies and with the creative universal principles on earth. Use this as a toolkit throughout further work;
5. consider the concepts of “macrocosm” and “microcosm” in relation to architecture;
6. identify the influence of globalization on architecture and consider the cosmological path of architecture to the present day and, on the basis of this, show the phenomenon of architecture of the new millennium;
7. consider the change in architecture under the influence of a new paradigm in science that appeared at the end of the 20th century, against the backdrop of the emergence of the idea of “new integrity,” and establish the principles for the formation of a new space.
Scientific novelty of the research:
1. For the first time, the principles and processes of development of architectural space are presented in several aspects at once: cosmogonic, cosmological, semiotic.
2. The principles of architectural symbolism are compared with the movements of astronomical bodies and cosmic principles of architectural form formation.
3. The patterns and meaning of architectural space and form are established through analysis and identification of the internal logic of archaic architecture and the ideas about the universe contained in it.
4. Based on a comprehensive analysis, the principles and processes of the development of architectural forms and spaces from the point of view of cosmogony and cosmology from inception to the present day are generalized and compared. The emergence of a new integrity in architecture is noted, where architecture is considered as a synergetic system developing according to cosmological principles.
5. A new concept was introduced in relation to modern architecture - neocosmogenic architecture and its typology was proposed.
6. A model has been created that reflects the development of architecture under the influence of external processes from the point of view of cosmology and cosmogony. The model leads to forecasting the future development of architecture through a structural analysis of its past.
The methodology for studying architectural space is based on a comprehensive analysis of literary sources, as well as on the development of the author’s models for understanding architectural space; Thus, a new independent methodology is being developed.
Various methods are used to analyze cosmology and cosmogony of architectural space:
Method of systematization and generalization of literary sources;
Historical and genetic analysis of architecture;
Semiotic method - search for information, signs, meanings contained and expressed in architecture;
Methods of cosmology and cosmology based on the search for symbolic mechanisms and patterns that reflect the structural framework of the spatial picture of the world (world mountain, world axis, world tree), and their projective overlay on images of architectural monuments;
Methods from philosophy, based on the establishment of astronomical, symbolic, cultural and other kinds of connections between concepts, images, eras that are touched upon in this study;
Graphic-analytical method - drawing up diagrams and tables based on the analyzed material;
Modeling method - development of semiotic, analytical, predictive models based on research results
Boundaries of the study. The work explores cosmogony and cosmology in architecture at various stages of development. Accordingly, periods are considered in which the manifestation of the principles of cosmology and cosmogony in architecture was most indicative for subsequent generations and, of course, the most modern period - the beginning of the third millennium. The sacred architecture of antiquity is considered: Egypt, India, Cambodia, the countries of the Middle East, Ancient Greece and Rome; religious architecture of the Middle Ages of three world religions - Buddhism, Christianity and Islam, respectively - in India, Europe, and the Middle East. Architecture from its inception to the present day throughout the world, including Europe, America, and Russia, is also examined. The latest architecture is considered everywhere: in Asia, America, Europe.
The practical significance of the study lies in the fact that, based on the methods and types of organization of architectural space, based on cosmological and cosmogonic principles, a theoretical basis for forecasting the development of architecture is revealed: various approaches at the intersection of sciences contribute to a more in-depth analysis of the multifaceted picture of the world, which allows for more accurate determine in it the meaning and place of architecture today. This base can be applied as part of scientific research in this direction. The principles of architectural form formation, presented in a systematized form, based on cosmological and cosmogonic traditions and approaches, can be taken into account in architectural design.
The main results are taken into account in the research topic “Semiotics of Architectural Space”, developed at the Department of Fundamentals of Architectural Design in accordance with the topics of the intra-university research plan of the Ural State Academy of Architecture and Art. The results of the work were used in real design when creating a Europe-Asia sign, installed on the border of parts of the world, on the 17th kilometer of the Moscow Highway in the outskirts of Yekaterinburg.
The following are submitted for defense:
1. Comparison of the principles of architectural symbolism with the principles of the movement of astronomical bodies, astronomical and temporal symbolism in world culture.
2. Systematization of the principles of architectural cosmogony and cosmology with the identification of the general and special in the cosmological structure of symbolism, the geometric structure of architecture, the orientation of buildings relative to the cardinal points, and in the codes of the content plan.
3. The structure of the plan of expression and the plan of content in the symbolism of architectural structures and their elements with decoding of the main semiotic codes.
4. New directions of modern architecture that have arisen as a result of expanding the range of principles of shape formation in architecture and a deeper understanding of the genesis of architectural form
5. A theoretical model of the transformation of architecture, reflecting the process of development of architecture during the interaction and under the influence of various processes on its cosmogenic properties, among which the fundamental ones are technogenic and anthropomorphic.
Approbation of work. The author made reports on the main provisions of the study: 2003 - at the AISE International Colloquium in Urbino (Italy), 2003 - at the XXXI International AISS Colloquium in Castiglioncello (Italy), 2004 - at the International Congress "Architecture 3000" in Barcelona (Spain), 2004 - at the AISE International Congress “Signs of Peace. Intertextuality and globalization” in Lyon (France). The conducted research made it possible to develop a number of architectural projects using cosmogonic and cosmological approaches, including the “Socio-cultural complex on the Europe-Asia border”, a small copy of which in the form of a memorial sign was installed in 2004 on the border of two continents: Europe and Asia near Yekaterinburg.
Work structure.
Conclusion of the dissertation on the topic “Theory and history of architecture, restoration and reconstruction of historical and architectural heritage”, Volegova, Alexandra Alekseevna
Main results and conclusions of the study
In the work carried out on the basis of a study of the semiotic aspects of cosmogony and cosmology that formed the basis of architecture, certain patterns were identified that reveal the phenomenon of harmonious architecture in different times from antiquity to modern times.
In the course of the study, definitions were given to the basic principles and concepts connecting architectural and spatiotemporal symbolism, and our own graphic symbolic series was proposed. The principles of the movement of astronomical bodies are compared with the principles of the formation of architecture from the moment of its inception. It has been established that the principles of architectural symbolism are based on astronomical and temporal symbolism. It has been revealed that all the main symbolic configurations are united by the concept of a geometric center, and also that any astral and temporal symbolism in architecture is based on the identification of the center of the building and the center of rotation of celestial bodies and both of them with the Center of existence, coinciding with the Source of time. The following are highlighted as the fundamental principles of architectural symbolism: the center as the beginning of any time and space, the center of any architectural structure as an analogue of the celestial center, the Sun, the North Star; the vertical axis as a connection of the cosmic trinity; space and time as forms of the diversity of the world, symbolically expressed by a square and a circle, a base and a dome, respectively, and expressing the unification of Earth and Sky, Substance and Essence; a spatial cross as a symbol of the origin of the cosmos from a single beginning, depicting the four-part cycle of the day, the year, whose additional divisions can symbolize the solar and lunar cycles transferred to the building through proportional relationships.
The work identified the main semiotic mechanisms, with the use of which the idea of the spatial picture of the world is associated, and showed the relationship of cosmogony and cosmology with architecture. It is further shown that since ancient times, a man-made form, be it a building or a settlement, is, firstly, a physical diagram of the movement of the sun and stars, and secondly, an expression of the principles of cosmic order on earth.
Based on the analysis of semiotic principles and their application in architecture, we note that cosmogony is a model of architecture, and any architectural form is determined by the presence of a center, since the origin of the created form from the center is identified with the origin of the world. Reproducing cosmogony in architecture is the creation of the world in microcosm, the reproduction of space and time at one point. Cosmogony is present both in the building plan and in the three-dimensional model of space. The reproduction of metaphysical space and transcendental time originates at one point - the navel of the earth, the world axis, the center of the structure.
Based detailed analysis religious buildings of the Middle East, India, Egypt, Cambodia, Ancient Greece, Rome, medieval Europe and Rus', the basic principles of architectural cosmogony and cosmology were outlined, and the author’s symbolism of the main archetypes of world modeling was proposed. The basic principles and trends were systematized graphically, identifying the general and special in the symbolism, geometric structure and contours of architecture; orientation of architectural and urban structures relative to the cardinal directions; in content plan codes reflecting symbolic meaning architectural elements of buildings.
In the course of considering the concepts of “macrocosm” and “microcosm” in architecture, it was shown that a religious architectural structure, for example, a temple, reflects symbolic form the universe on the macrocosmic plane and the human body on the microcosmic plane. Man strives to organize the space around himself on the basis of universal creative principles in order to tune himself into resonance with the laws of nature.
Very noticeable is the fact that the emergence of a complex phenomenon called globalization, a change in the scientific paradigm, powerful scientific and technological progress, the introduction of digital technologies, the emergence of a new space-time relationship in the consciousness of modern humanity have led to the emergence of a new architecture, characterized by a new principle of integrity. New human ideas about nature and the universe create not only new architecture, but also form its new genesis. In new conditions, architectural modeling is subject to the idea of self-organization of an evolving system, as a result of which architecture becomes a synergetic system. Despite this, the basic principles: the presence of a center, orientation to parts of the world, emphasis on the vertical, are certainly present in architecture, but due to the greater complexity of architectural forms, the relationship between meaning, sign and signified is modified. For the new architecture, the architecture of the new millennium, based on the principles of cosmogony and cosmology, a new term is introduced - “neocosmogenic architecture”.
Based on the identified trends in the use of the principles of cosmogony and cosmology, a theoretical model of architecture transformation has been created, reflecting the process of development of architecture during the interaction and under the influence of the cosmogenic properties of various processes. Among the accompanying processes, the fundamental ones are technogenic, which has a scientific and technical basis, and anthropomorphic, based on the understanding of nature and oneself as part of nature; on modern stage The process of synchronization that arose with the advent of globalization, digital technologies, and artificial intelligence appears and becomes very significant. The model shows how the processes influencing architecture become denser over time, and under their influence architecture changes from cosmogonic to neocosmogenic. The model can be used as a predictive model for architectural development.
The work formulates and systematizes the principles of the emergence of a new architecture. A typology of neocosmogenic architecture is proposed, consisting of six typological groups. The process of transition of cosmology into neocosmology, whose fundamental principle is self-organization, is depicted. The path of modern architecture from simplicity to complexity, and then to a new complex heterogeneous integrity based on a paradigm that explains the evolution of the universe on the “fusion of differences” into a single organism, as well as on the symbiosis of structures in architecture and urbanism through synchronizing their pace of life, is shown. A theoretical basis has been formed for making forecasts for the development of architecture, based on the internal meaning-forming content of architecture, based on cosmogonic and cosmological principles. An integrated approach to studying the future of architecture through a structural analysis of its past has been developed.
As a prospect for the development of the presented dissertation research, it is that understanding the laws of cosmology and cosmogony leads to the knowledge of hidden meanings encrypted in space, and their competent use becomes the basis for solving many problems of architecture and urbanism in order to create the best living conditions on earth, a particle of the Cosmos - To a person.
List of references for dissertation research candidate of architecture Volegova, Alexandra Alekseevna, 2007
1. Architecture: a quick guide / ch. ed. M. V. Adamchik. Minsk: Harvest, 2004. - 624 p.
2. Akhundov M. D. Concepts of space and time: origins, evolution, prospects / M. D. Akhundov. M.: Nauka, 1982. - 222 p.
3. Barabanov A. A. Reading the city / A. A. Barabanov // Semiotics of space: collection. scientific tr. / ed. A. A. Barabanova; Intl. associations of semiotics of space. Ekaterinburg: Architecton, 1999.-687 p.
4. Bauer V., Dumotz I., Golovin S. Encyclopedia of symbols / V. Bauer, I. Dumotz, S. Golovin; lane with him. G. Gaeva. M.: KRON-PRESS, 2000. - 504 p.
5. Berger J1. G. Spatial image of the world in the structure of artistic style / JI. G. Berger // Questions of Philosophy. 1994. -№4.-S. 124-128.
6. Vedenin Yu. A. Essays on the geography of art / Yu. A. Vedenin. -SPb.: Dmitry Bulanin, 1997. 178 p.
7. Gachev G. D. European images of Space and Time: Culture, man and the picture of the world / G. D. Gachev. M.: Nauka, 1987. - pp. 198-227.
8. Jenks Ch. New paradigm in architecture / Ch. Jenks // Project International. 2003. - No. 5. - P. 98-112.
9. Dobritsyna I. A. From postmodernism to nonlinear architecture: architecture in the context of modern philosophy and science / I. A. Dobritsyna - M.: Progress-Tradition, 2004. - 416 p.
10. Zheleva-Martins D.V. Topogenesis of the city: semantics of the myth of origin / D.V. Zheleva-Martins // Semiotics of space: collection. scientific tr. Intl. associations of semiotics of space / ch. ed. A. A. Barabanov. Ekaterinburg: Architecton, 1999.
11. Zhokhov A.V. Man in the temple (Temple action in the context of synergetic anthropology) / A.V. Zhokhov. Perm: Perm. state tech. univ., 2004.- 157 p.
12. Julien N. Dictionary of symbols / N. Julien; lane from fr. S. Kayumova, I. Ustyantseva. 2nd ed. - Ekaterinburg: Ural L. T. D., 1999.
13. Starry sky: an illustrated atlas for schoolchildren / ed. E. Ananyeva, S. Mironova. M.: Avanta +, 2004. - 96 p.
14. Claude-Nicolas Ledoux and Russian architecture: exhibition catalog 4.1016.11.2001 Ekaterinburg / comp. A. A. Barabanov. Ekaterinburg: Architecton, 2001. - 320 p.
15. Knabe G. S. Historical space Ancient Rome/ G. S. Knabe // Materials for lectures on the general theory of culture and culture of Ancient Rome.-M., 1994.
16. Knyazeva E. N. Synergetic challenge to culture Electronic resource. / E. N. Knyazeva. Access mode: http://www.asadov.ru/intellarch/nonlinearlrus.htm.
17. Kovalzon M. Ya., Epshtein R. I. On the specificity of space and time as categories of social and philosophical theory / M. Ya. Kovalzon, R. I. Epshtein // Philosophical Sciences. 1988. - No. 8.
18. Koran / trans. from Arabic I. Yu. Krachkovsky. M.: Bukva, 1991. - 528 p.
19. Lagopoulos A.F. From stick to region: space as a social tool of semiotics / A. F. Lagopoulos // Semiotics of space: collection. scientific tr. Intl. associations of semiotics of space / ch. ed. A. A. Barabanov. Ekaterinburg: Architecton, 1999.
20. Lotman Yu. M. On the problem of spatial semiotics / Yu. M. Lotman. St. Petersburg: Art, 2000. - P. 442^45.
21. Lotman Yu. M. On the semiotic mechanism of culture / Yu. M. Lotman // Selected articles: in 3 volumes. T.Z. Tallinn: Alexandra, 1993.
22. Lotman Yu. M. Semiosphere / Yu. M. Lotman St. Petersburg: Art, 2001. -704 p.
23. Matytsin A. A. The problem of the multiplicity of forms of space and time: logical and epistemological analysis: abstract. dis. Ph.D. Philosopher Sciences: 09.00.01 / Matytsin A. A. M.: Moscow. ped. state univ., 1990. -17 p.
24. Myths of the peoples of the world: encyclopedia: in 2 volumes / ch. ed. S. A. Tokarev. M.: Ross. encyclopedia, 1994. - T. 1.-671 p.
25. Myths of the peoples of the world: encyclopedia: in 2 volumes / ch. ed. S. A. Tokarev. M.: Ross. encyclopedia, 1994. - T. 2. - 719 p.
26. Moatti K. Ancient Rome/ K. Moatti; lane from fr. I. Ionova M.: ACT; Astrel, 2003. - 208 p.
27. Neapolitansky S. M., Matveev S. A. Sacred architecture. City of the Gods / S. M. Neopolitansky, S. A. Matveev. St. Petersburg: Publishing house of the Institute of Metaphysics, 2005. - 256 p.
28. Neapolitansky S. M., Matveev S. A. Sacred geometry / S. M. Neopolitansky, S. A. Matveev. St. Petersburg: Svyatoslav, 2003. - 632 p.
29. Pavlov N. JI. Altar. Mortar. Temple. Archaic universe in the architecture of the Indo-Europeans / N. L. Pavlov. M.: OLMA-PRESS, 2001.-368 p.
30. Potemkin V. K., Simanov A. L. Space in the structure of the world / V. K. Potemkin, A. L. Simanov. Novosibirsk: Nauka, 1990. - 176 p.
31. Space // New philosophical encyclopedia: in 4 volumes. M.: Mysl, 2001. - T. 3.-S. 370-374.
32. Rudnev V.P. Dictionary of culture of the XX century. Key concepts and texts / V. P. Rudnev. M.: Agraf, 1999. - 381 p.
33. Surina M. O. Color and symbol in art, design and architecture / M. O. Surina. M.: Rostov-on-Don: March, 2003. - 288 p.
34. Tikhoplav V. Yu., Tikhoplav T. S. Harmony of Chaos, or Fractal Reality / V. Yu. Tikhoplav, T. S. Tikhoplav. St. Petersburg: Ves, 2003. - 352 p.
35. Heidegger M. Art and space. Self-awareness of European culture of the 20th century: Western thinkers and writers on the place of culture in modern society/ M. Heidegger. M.: Politizdat, 1991. - pp. 95-99.
36. Artistic models of the universe. Interaction of arts in the history of world culture. Book 1. M.: NII PAX, 1997. - 380 p.
37. Hancock G., Bauval R. The riddle of the Sphinx or the guardian of being / G. Hancock, R. Bauval: trans. from English I. Zotov. M.: Veche, 2000.
38. Chertov L. F. On the semiotics of spatial codes / L. F. Chertov // Semiotics of space: collection. scientific tr. Intl. associations of semiotics of space / ch. ed. A. A. Barabanov. Ekaterinburg: Architecton, 1999.
39. Sheinina E. Ya. Encyclopedia of symbols / E. Ya. Sheinina. M.: ACT; Kharkov: Torsing, 2002. - 591 p.
40. Eliade M. Sacred and secular / M. Eliade: trans. from French, preface and comment. N.K. Grabovsky. M.: Moscow State University Publishing House, 1994. - 144 p.
41. Eliade M. Treatise on the history of religion: in 2 volumes / M. Eliade: trans. from fr. A. A. Vasilyeva. St. Petersburg: Aletheya, 2000.
42. Encyclopedia of symbols / comp. V. M. Roshal. M.: ACT; St. Petersburg: Sova, 2006.- 1007 p.
43. Encyclopedia of symbols, signs, emblems. M.: ACT; Astrel: Myth, 2002.-556 p.
44. Literature in foreign languages
45. Ardalan N., Bakhtiar L. The sense of Unity / N. Ardalan, L. Bakhtiar. -Chicago:University of Chicago Press, 2004.
46. Arnaboldi M.A. "Segnali per lo spettacolo" // L"Area. 2004. - N 197. - P. 62-67.
47. Burckhardt J. An Introduction to Sufi Doctrine / J. Burckhardt; tr. ingl, di D. M. Matheson, Muhammad Ashraf, Lahore; ed.or.1951. Introduzione alle dottrine esoteriche dell"Islam, a.c.di G. Jannaccone, Mediterranee. Roma, 2000.
48. Bussagli M. Capire l "Architettura / M. Bussagli. Firenze: Giunti Gruppo Editoriale, 2003.
49. D"Alfonso E., Samsa D. Architettura / E. D"Alfonso, D. Samsa. Milano: Arnoldo Mondadori, 2001.
50. Frazer J. The Fasti of Orid / J. Frazer. London: Macmillan, 2001.
51. Giorgi E. “Flessibilita degli spazi” // L"Arca. 2005. -N 201. - P. 50-57.
52.GuardigliD. "Agora"//L"Arca.-2005.-N 199.-P. 48-51.
53. Gozak A., Leonidov A. Ivan Leonidov/ Gozak A., Leonidov A. London: Academy editions, 1988.
54. Haninger S. K. Touches of Sweet Harmony. Pythagorean Cosmology and Renaissance Poetics / S. K. Haninger. San Marino (California): Huntington Library, 2003.
55. Hautecoeur L. Mystique et architecture. Symbolisme du cercle et de la pasole / L. Hautecoeur. Paris: A. et J. Ricard, 2001.
56. Jodidio Ph. Architecture now. Vol. 2/Ph. Jodidio. Koln: Taschen, 2003. -575 p.
57. Jodidio Ph. Architecture now. Vol. 3/Ph. Jodidio. Koln: Taschen, 2003. -573 p.
58. Jodidio Ph. Calatrava/Ph. Jodidio. Koln: Taschen, 2003. - 192 p.
59. King D. A. Astronomical Alignments in Medieval Islamic Religious Architecture / D. A. King. Urton, 1982.
60. Kollar L. P. Symbolism in Christian Architecture of the First Millennium / L. P. Kollar. University of New South Walls, 2006.
61. Kramrisch S. The Hindu Temple. University of Calcutta / S. Kramrisch. -Milano: Trento, 1999.
62. Lagopoulos A. Ph. Urbanisme et Semiotique / A. Ph. Lagopoulos. Paris: Economica. 1995.
63. Levi A. Les machines a faire-croire / A. Levi. Paris: Economica. 2003.
64. Muratore G. "Stile" Fuksas // L "Arca. 2004. - No. 197. - P. 36-51.
65. Nasr S. H. Islamic Science / S. H. Nasr. London:World et Islam Publishing, 2004.
66. Pisani M. “Citta in competizione” // L "Arca. 2005. - N 199. - P. 12-15
67. Snodgrass A. Architettura, Tempo, Eternita. Paravia / A. Snodgrass. -Milano: Bruno Mondadori, 2004.
68. The Grammar of Architecture / gen. ed. E. Cole. Boston; New York; London: Bulfinch Press; Little, Brown and Company. 2002.
69. Zevi B. Saper vedere 1 "architettura / B. Zevi. Torino: Giulio Einaudi, 2004.
70. List of illustrative sources
71. Zolotov E.K. Monuments of Verkhoturye / under scientific. ed. A. A. Starikova. Ekaterinburg: Architecton, 1998. - 192 e., ill. 184
72. History of Russian architecture: textbook / ed. Yu. S. Ushakova, T. A. Slavina. St. Petersburg: Stroyizdat St. Petersburg, 1994. - 600 p.
73. Kizhi: album / JI. M.: Art Leningrad, 1965. - 96 p.
74. Samoilov I. D. Treasures of the Lower Sinyachikha / Samoilov I. D. - Yekaterinburg: IPP Uralsky Rabochiy, 1995. 205 p.
75. Main publications on the topic of the dissertation
77. Volegova A. A. Architecture as a way of understanding the world / A. A. Volegova. // Izv. Ural. Branches of the Russian Academy of Education. Education and science. - 2007. - app. N 6 (10). - P. 103-107.-0.3 conventional p.l.1. In other publications
78. Volegova A. Cosmogonia e cosmologia in progetto dello spazio di una citta /A. Volegova // Proceedings of the international colloquium AISS (AISE) "Limiti del mondo e senso dello spazio". Urbino, 2003. - pp. 115-117. -0.56 conventional p.l.
79. Volegova A. Dal rito alia tradizione. Dall "altare al tavolo / A. Volegova // Materials of the international colloquium XXXI Colloque AISS "Semiofood. Comunicazione e cultura del cibo". Castiglioncello, 2003. - P. 73-77. -0.3 conventional p.l.
80. Volegova A. Space, identity and culture /A. Volegova // Materials of the international congress "III Congres Internacional ARQUITECTURA 3000. L"arquitectura de la in-diferencia" Barcelona: Edicion UPS, 2004. - P. 149. - 0.08 conventional p.l.
81. Volegova A. Cosmogony and cosmologi in urban planning / A. Volegova // Materials of the international congress "III Congres Internacional ARQUITECTURA 3000. L"arquitectura de la in-diferencia". Barcelona: Edicion UPS, 2006. - pp. 74-80 - 0.71 conventional p.l.
82. Volegova A. A. Famous French architects VALODE & PISTRE in Yekaterinburg / A. A. Volegova // Construction complex of the Middle Urals. 2006. - N 1 -2. - P. 21. - 0. 1 conventional p.l.
83. Ministry of Education of the Russian Federation1. T.J.
84. State educational institution higher vocational education
85. Ural State Academy of Architecture and Art
86. SEMIOTIC ASPECTS OF COSMOGONY AND
87. COSMOLOGY IN ARCHITECTURAL AND URBAN PLANNING MONUMENTS
88. Specialty 18.00.01 Theory and history of architecture, restoration and reconstruction of historical and architectural heritage
89. Dissertation for the degree of candidate of architecture1. Volume II
Please note that the scientific texts presented above are posted for informational purposes only and were obtained through original dissertation text recognition (OCR). Therefore, they may contain errors associated with imperfect recognition algorithms. There are no such errors in the PDF files of dissertations and abstracts that we deliver.