Radekan astronomical tower is a unique building of the medieval architecture of Iran. Aspects influencing the formation of student interuniversity centers Architectural structures with an astronomical aspect


The unity of architecture is achieved by a number of compositional and artistic means.

¾ The simplest artistic means - geometric shape.

Determined the ratio of the dimensions of the form according to three coordinates(height width depth). If all the three dimensions are relatively equalshape is voluminous(developed in all three coordinates. On the perception of this form affects: the type of surface, the position and angle of the form relative to the viewer, the height of the horizon. If one dimension less- the shape is flat. If one dimension more- linear character. In a complex ensemble unity is achieved by subordination: main volume secondary buildings and orientation towards the compositional center are subordinate.

¾ Symmetry- elements of the form are considered symmetrical about the center.

¾ Asymmetry- a means of creating unity in asymmetric compositions is the visual balance of parts in terms of mass, texture, color. (Savior Transfiguration Cathedral of the Mirozhsky Monastery). Role- revealing the dynamics of the artistic image of the work.

¾ Proportions- the ratio of architectural forms in height, width, length. Equal proportions (pyramids), abscesses - the golden ratio. Proportions determine the proportionality and harmony of the elements of architectural forms.

¾ scale- the proportionality of forms and elements in relation to the person, the surrounding space. Determines the relative ratio of perceived forms in relation to the size of a person

¾ Rhythm– with its help proportionality and expressiveness of architecture is achieved. Rhythm is created by uniform repetition of forms and intervals (ornament, columns, windows)

¾ The position of the form in space– frontal, profile, horizontal, closer, farther from the viewer



¾ Weight in the building in visual perception depends on visual assessment of the amount of material. Cubic or spherical shapes have the greatest mass.

¾ Material texture- reflects the volumetric nature of the surface, texture– linear structure of the material on the surface.

¾ Color The property of a surface to reflect or emit light. It is characterized by color tone. Saturation. Lightness.

¾ Chiaroscuro- reveals the distribution of light and dark areas of the surface of the form. Facilitates the visual perception of the architectural form. Most reveals the volume and texture of light at an angle of 45 degrees.

The role of natural and artificial light is very important. The characteristics of the light are related to the orientation of the building − direct can illuminate southern, eastern, western facades, penetrating into the interior as a side or top light. Natural light enhances illumination . artificial light used at the level of street lighting of architecture volumes.

Architecture refers not only to the organs of vision, but to the totality of the sensory and spiritual perception of man. Visual perception alone is not enough to evaluate architecture, because we cannot look at the whole building with one glance, from one point of view. If we look at the building from the outside, we can only see one side of it completely, or, if we look from an angle, two sides in great reduction. A wider scope of space is available to the eye inside the building, when several walls and a ceiling or floor can be seen at a time from one point of view. But we are able to perceive the interior space of the building only in the form of separate, partial pictures. How, then, can we get a complete, exhaustive idea of ​​the entire architectural organism, if our impression of a building is inevitably made up of only disparate, fragmentary optical aspects?

Architecture, as I have already pointed out, appeals not only to visual sensations, but also to touch, and even to the hearing of the viewer. The hand imperceptibly touches the wall, feels the column, slides along the railing. We pay little attention to this often unconscious manifestation of our tactile energy, especially to the movements of our body, to the rhythm of our step, and yet tactile and motor sensations play a very important role in our experience of architecture, in that peculiar mood in which we plunges this or that architectural space. And, finally, and most importantly, the complete perception of architecture is possible only in continuous movement, in sequential movement in the space of the building: we approach the building along the street, along the square or along the steps of the stairs, go around it, penetrate into its interior, move along it. the main axes, now bypassing whole suites of rooms, now wandering in the forest of columns. (VIPPER).

25. Synthesis of arts in architecture.

SYNTHESIS OF THE ARTS(Greek synthesis - connection, combination) - the organic unity of artistic means and figurative elements of various arts, which embodies the universal ability of a person to aesthetically master the world. The synthesis of arts is realized in a single artistic image or system of images, united by the unity of conception, style, performance, but created according to the laws of various types of art.

Big Synthesis reaches its heyday in ancient Egypt, ancient Greece and Rome. In ancient Russian artistic culture, examples of Synthesis are many monastic ensembles, kremlins, churches, and civil buildings.

Historical development Synthesis of Arts related with the desire to embody in art ideal of the whole person expressing the idea of ​​social progress.

Basis of synthesis is architectureshe defines the place, ideological orientation, scale b, technology performance and general principles compositions, supplemented work sculpture, painting, decorative arts, which correspond to a certain artistic and architectural solution.

Architecture organizes outdoor space. Sculpture, painting, decorative arts should have special qualities corresponding to their roles and location in the architectural ensemble (for example, painting, sculpture on facades buildings must have monumentality, decorativeness). compatible with architecture, sculpture, painting, decorative arts organize the interior space(interior) and help to establish a figurative unity between it and the external environment.

Rhythm, scale, color pictorial and sculptural elements are essential affect perception. architectural appearance of the building or complex as a whole and, consequently, to achieve unity, embodied in synthesis.

Synthesis achieved thanks to same concept and style. Style in architecture is called commonality of means and techniques of artistic expression are imbued X attitude dominant ideology in society.

In the modern era receives development of the "big synthesis" - creation with the help of architecture, color, monumental painting, arts and crafts subject environment most fully embodying and revealing the ideological and artistic content of the ensemble and his active influence on a person.

Synthesis does not always occur immediately, as a result of a one-time design and one-time work of an architect and an artist. We know examples when a building was built first, and then it was supplemented with painting.

The same could be said about the building of the Admiralty and the sculptures adorning it by F. Shchedrin, I. Terebenev, S. Pimenov, V. Demut-Malinovsky. It is difficult to imagine the central part of the Admiralty, crowning its tower, without a sculpture that contributes to the disclosure of the main idea of ​​the architect A. Zakharov - a demonstration of the sea power, the sea power of Russia. Without sculpture, the Admiralty will be different, while at the same time, any statue taken from the tower will look like a very large, well-made thing, and nothing more.

It is not possible to fight the threats inherent in the network environment using universal operating systems. The Universal OS is a huge program that, in addition to obvious bugs, probably contains some features that can be used to illegally obtain privileges. Modern programming technology does not allow such large programs to be made 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. The firewall is just such a tool that allows further decomposition associated with the maintenance of 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, one speaks of an external ME, in the second, an internal one. Depending on one's point of view, an external firewall can be considered the first or last (but by no means the only) line of defense. The first is if you look at the world through the eyes of an external intruder. The last - if you strive to protect all components of the corporate network and prevent illegal actions of internal users.

The firewall is an ideal place to embed active auditing tools. On the one hand, both at the first and at the last defensive line, the detection of suspicious activity is important in its own way. On the other hand, the ME is able to implement an arbitrarily powerful reaction to suspicious activity, up to breaking the connection with the external environment. True, one must be aware that the connection of two security services can, in principle, create a gap that facilitates accessibility attacks.

It is advisable to assign to the firewall the identification / authentication of external users who need access to corporate resources (with support for the single sign-on concept).

By virtue of the principles defense layering to protect external connections, two-piece shielding is usually used (see figure 12.3). Primary filtering (for example, blocking SNMP management protocol packets that are dangerous for accessibility attacks, or packets with certain IP addresses included in the "black list") is carried out border router(see also the next section), followed by the so-called demilitarized zone(a network with moderate security trust, where the organization's external information services are placed - Web, e-mail, etc.) and the main firewall, which protects the internal part of the corporate network.



Rice. 12.3. Two-component shielding with a 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 excess that is harmful to security (the more complex the service, the more vulnerable it is).

Generally speaking, both the external and internal firewall can become a bottleneck as the amount 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 proxy servers. The main firewall can roughly classify incoming traffic by type and delegate filtering to the 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 where the 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 a composite one, and it is required to solve the problem of coordinated administration (management and audit) of all components.

The opposite of composite corporate firewalls (or their components) are personal firewalls and personal shielding devices. The former 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 area network, such as a home office network.

When deploying firewalls, you should follow the principles we discussed earlier architectural security taking care of the first simplicity and manageability, on the defense layering, as well as on inability to transition to an unsafe state. Moreover, it is necessary to take into account not only external, but also internal threats.

Firewall classification

When considering any issue related to networking, the seven-layer ISO/OSI reference model serves as the basis. It is also expedient to classify firewalls according to the level of filtering - channel, network, transport or application. Accordingly, one can speak of shielding hubs(bridges, switches) (layer 2), routers(level 3), transport screening (level 4) and application screens (level 7). There are also screens that analyze information at several levels.

Filtering of information flows is carried out 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 was received, etc. Thus, firewalls use a very powerful logical approach to access control.

The capabilities of a firewall are directly determined by what information can be used in filtering rules and how powerful rule sets can be. Generally speaking, the higher the level in the ISO/OSI model at which the ME operates, the more meaningful information is available to it and, consequently, the finer and more reliable it can be configured.

Screening routers (and hubs) deal with individual packets of data, which is why they are sometimes referred to as packet filters. Decisions about whether to skip or delay data are made for each packet independently, based on the 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 hubs are a means not so much of access control, but of optimizing the operation of a local network through the organization of so-called virtual local networks. The latter can be considered an important result of the application 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 also be used as a packet filter.

The main advantages of shielding routers are an 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 drawback is the limited information being analyzed and, as a result, the relative weakness of the protection provided.

Transport screening allows you to control the process of establishing virtual connections and the transfer of information over them. From an implementation point of view, the shield 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 is able to track the amount of information transmitted and close connections after exceeding a certain threshold, thereby preventing unauthorized export of information). Similarly, the accumulation of more meaningful registration information is possible. 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 is able to provide the most reliable protection. As a rule, such a ME is a universal computer on which shielding agents, which interpret application layer protocols (HTTP, FTP, SMTP, telnet, etc.) to the extent necessary for security.

When using applied MEs, in addition to filtering, one more important aspect of screening is implemented. Subjects from the external network see only the gateway computer; accordingly, they have access to only that information about the internal network that he considers necessary to export. Applied ME actually shields, 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 directly communicate with the objects of the outside world. The disadvantage of applied MEs is the lack of full transparency, requiring special actions to support each application protocol.

If an organization has the source texts of the applied ME and is able to modify these texts, it opens up extremely wide opportunities for customizing the screen to suit its own needs. The fact is that when developing systems client/server in multi-tier architecture there are specific application protocols that need to be protected no less than standard ones. The shielding agent approach allows you to build such protection without compromising the security and effectiveness of other applications and without complicating the structure of communications in the firewall.

Integrated firewalls, covering levels from network to application, combine the best properties of "single-level" firewalls of different types. Protective functions are performed by complex MEs in a transparent manner for applications, without requiring any changes to either the existing software or the actions that have become familiar to users.

The complexity of the ME can be achieved in different ways: "bottom up", from the network layer through the accumulation of context to the application layer, or "top down", by supplementing the applied ME with mechanisms of the transport and network layers.

In addition to expressive capabilities and the allowable number of rules, the quality of the firewall is determined by two more very important characteristics - ease of use and self-protection. In terms of ease of use, a visual interface for defining filtering 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 the ruleset for consistency. Also important is the centralized collection and analysis of registration information, as well as receiving signals about attempts to perform actions prohibited by the security policy.

The inherent security of the firewall is provided 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, you should also take care of protecting information from passive and active listening to the network, that is, ensure its (information) integrity and confidentiality. It is extremely important to promptly apply patches that eliminate the identified vulnerabilities of the DOE.

I would like to emphasize that the nature of shielding as a security service is very deep. In addition to blocking data streams that violate security policy, a firewall can hide information about the protected network, thereby making it more difficult for potential attackers to act. 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 features of firewalls:

Content control (anti-virus control on the fly, verification of Java applets, detection of keywords in electronic messages, etc.);

Execution of functions middleware.

The last of these aspects is of particular importance. Middleware, like traditional application layer firewalls, hides information about the services provided. Due to this, it can perform functions such as request routing and load balancing. It seems quite natural for these features to be implemented within the framework of the firewall. This greatly simplifies the high availability of exported services and allows switching to redundant capacity in a transparent way for external users. As a result, services traditionally provided by firewalls are being augmented with support for high availability of network services.

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).

Scroll back in history a little over 7 centuries and imagine that it is now the 13th century A.D., the 7th century AH, during the reign of the Ismailis. The time when Khadzhe Nasir, also known as "Khoja Nasreddin Tusi", a young scientist from the city of Tus, engaged in science and philosophy, conceived the construction of the world's largest astronomical tower.
The height of the future astronomical tower, named Radekan, will be 25 meters; astronomers of that time will use it to determine the most important aspects of the solar calendar...

A few years ago it was believed that the Radekan Tower was the tomb of one of the Ilkhanids. However, further research and research by scientists showed that this high tower with its special dome on top is the only one capable of defining the boundaries of the four seasons, leap years and the beginning of Nouruz. This tower was built according to the project of Muhammad ibn Hassan Jahrudi Tusi and is located in the city of Chenaran in the Iranian province of Khorasan-Razavi. Radekan is a great work of engineering and architectural art. It rises above 12 external adobe walls, dividing it into 12 parts, with each part of the wall measuring 30 degrees along the horizon. In the wall surrounding the tower there are two doors located opposite each other, in the upper part of the wall there are 365 vertical notches that divide the tower into 36 sectors, each of which is 10 degrees. The choice of places for doors and openings was not accidental. The doors of the tower are built just opposite the points of sunrise during the winter solstice (the beginning of winter) and sunset during the beginning of summer. The Radekan Tower is unique and has a number of characteristic features that make the Iranians feel proud.


According to the research, today only the astronomical purpose of this tower is obvious. The shape of the tower is very simple, it is built of ordinary brick and is also decorated with brickwork on the outside, and in some places it is plastered. In order to strengthen the brickwork in the process of its creation, the seams between the rows of bricks were pressed with fingers, which greatly increased the strength of the masonry. On the tower you can see holes located at a certain distance from each other - these are traces of scaffolding erected during its construction.

Unfortunately, in recent decades, action has been taken to search the tower for valuable antiques. As a result of such actions, some parts of the tower were destroyed, but the most destructive for it was that the land around it began to be used for growing crops, which caused significant damage to the structure. In recent years, attempts have been made by the Astronomical Society of Khorasan Province to change the current situation, and a certain improvement in its condition can be noted.

The registration of the movement of stars at the top of the tower is carried out around the Polar Star, it is believed that in the northern hemisphere it is constantly in a stationary state and indicates the north direction.

Here is a photograph taken using 95 frames, each frame has an illumination of 45 seconds.

As mentioned above, the Radekan tower has 12 wide and high clay walls, dividing it into 12 parts, each of which is equal to 30 degrees. That is, each wall spans a horizontal angle of 30 degrees. At the same time, all sections of the wall form parallel pairs with each other, in the upper part of which there are 365 vertical marks dividing the tower into 36 sectors of 10 degrees each.

Considering all this, it becomes clear that the choice of locations for doors and openings in the tower could not be accidental. The architects built two walls parallel to the 12 first walls of the tower, just opposite the celestial meridian, and the doors - opposite the points of winter sunrise and summer sunset. Thanks to this design, the tower allows you to determine the boundaries of the four seasons, leap years and the beginning of Nouruz. In fact, these doors are arranged in such a way that after the sun, moving along the horizon, reaches the point of 60 degrees, sunlight passes through two doors, and sunrise at the beginning of winter and sunset at the beginning of summer become visible on the horizon of the tower. If at any time you see the sunrise through two doors and it reaches its peak, then know that the longest night of the year has passed, and from that day winter begins. This day is the first day of the Iranian month of Day.
In the bottom two shots, you can see the sunrise during the winter solstice and the sunset during the summer solstice. The light of the sun passes through two doors, which precisely determines the time limits of these two seasons.


The photo on the left refers to the beginning of the winter period, the photo on the right - to the beginning of the summer period.



There are also 12 openings under the dome of the structure, with the help of which astronomers could find the place of the beginning of the 4 months that determine the seasons, that is, the months of Farvardin, Tyr, Mehr and Day.

The scientific possibilities of the Radekan Tower do not end there. Throughout the year, at the time when the sun reaches its highest point in the sky, on the two walls of the tower you can see the part illuminated by it and the shadow, and when they reach an equal size, this indicates that astronomical noon has come, or the time when it sounds call to midday prayer.

Scientific works of Tusi in the field of astronomy and botany became the most important sources widely used by scientists. In fact, his views directly or indirectly influenced all the books on astronomy of that time. Tusi also made discoveries in the field of trigonometry. He was the first to prove six theorems of a right triangle and considered them in his book Al-shekl-ol-geta.

Tusi was also engaged in research in the field of physics and, hundreds of years before Descartes and Huygens, argued that light consists of particles. He also wrote about the laws of reflection and refraction of light. So, in one of his works, Tusi writes: “Some scientists are of the opinion that light consists of small particles emitted by a light source and reflected from illuminated objects.” Nasir ad-Din at-Tusi had extensive knowledge in the field of philosophy, logic, ethics and wrote about two hundred works devoted to the above sciences. In addition to meaningful treatises, he left us verses in Persian, which also testify to the elegance of speech inherent in an outstanding scholar of the 13th century.

In the one he built in 1258 AD. A grandiose library was created at the Maraga observatory, consisting of valuable books brought from Baghdad, Mosul and Khorasan. The scientist sent proxies to different countries to acquire rare scientific manuscripts. According to the conclusions of some historians, thanks to his efforts, about 400,000 books were collected in the Maraga library. The existence of such a grandiose collection about 700 years ago (at a time when, according to Western scholars, there were no more than 1200 books in all of Europe) is a source of pride for Islamic history.

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This work is a very unexpected angle for such a topic as creativity in architecture. It is intended to highlight a number of aspects of essential knowledge about the Universe and man, thus revealing the ideological facets of architecture and opening a new angle of view on the imagery of this art and the criteria for its evaluation. And do not be embarrassed that intuition and elusive inspiration are subjected to dry rational analysis, and the objective laws of reality are extracted from under the religious and philosophical shell.

Foreword

Essential knowledge about the Universe plays a key role in architecture. Just as the Universe was created by structuring and shaping the space of the World, so architecture is a process similar in its essence to giving structure and form to human space. By being transferred to the earth's firmament, the fundamental principles of the creation of the Cosmos are transformed in accordance with the conditions of our reality and determine the basic ideas of creation in architecture, thus turning it into art.

The material culture of peoples, their worldview and mentality, the ideology of those in power, as well as the desire of the customer, leave their mark on architecture, predetermining the external diversity and abundance of nuances. But the main images and basic forms are determined by the essential aspects of the World, the main principles of cosmic creation. This understanding will allow us to look from a different point of view both at the art of architecture and the ideas expressed by it, and at the very process of creativity in it.

So far, no branch of knowledge can comprehensively describe the foundations of the entire Universe. Religion says nothing about the physics of the World. Science is silent about the meaning and purpose of the appearance of the Universe. And what yoga saw in the depths of other worlds is not yet available to either an ordinary person or natural science. As a result, knowledge about the essence and meaning of Being, the creative and energetic abilities of the individual, the mind of man and all that Existence is scattered bit by bit in various repositories, including non-scientific knowledge and experience.

All knowledge is to some extent limited by dogmatism, ideology, the level of development of society and other subjective factors. Only a correct synthesis of scientific and non-scientific knowledge will allow us to isolate the main ideas of the construction of the Universe, the principles of formation and structuring of matter and space of the Cosmos. Their awareness will highlight the ideological aspects of architectural creativity as an activity that reflects the process of creation and existence of the World in human architecture.

architecture as art

The Universe was created by giving structure and form to the primordial Matter. With the birth of space, sound arose as an accompaniment to creation. The reflection of this divine art of the creation of the World, on a different level and on a different scale, was architecture and music in human activity. Formation and structuring of human space is the essence of architecture as a type of activity. In the art of architecture, it is only a tool for creating an artistic image.

An image that is not in contact with the artistic images of other arts. Sculpture and painting, theater and literature can be considered internal, human arts. These are humanistic arts in the truest sense of the word - they are about a person and his relationships, are directed at him and reflect the ethical and aesthetic perception of themselves. With architecture and music, we touch something greater than ourselves, external, cosmic, some depths of all Existing.

The photographs of the Hubble Space Telescope showed the splendor of the world of stars, inaccessible to us from the earth, having become acquainted with which it is already impossible to remain indifferent to it. The unimaginable depth of the Universe, the ringing emptiness of Space with the quiet melody of the Universe - we can feel all this only indirectly, with our artistic perception. To cover the whole World and the whole abyss of the Cosmos with our awareness - this, unfortunately, goes beyond our capabilities.

The shaping of the planet's creative forces is much more visible and gives such a clear tectonics of efforts that the feeling of the titanic power of the Earth, the all-crushing forces of the Ocean, the immensity of the breadth and heights of Aer can overwhelm a person. The visible scales of the manifestations of these Elements of nature are not comparable with us, people are only guests within them and involuntary witnesses of their creations. And it is no coincidence that among the ancient Greeks, the Elements (titans) are the first, wild and inhuman gods who create the world itself.

Architecture, creating forms consonant with the scales of man, develops a different proportion of the created forms of space with man, in comparison with the works of Nature or Cosmos. Despite the smaller scale, the semantic load of architectural images can be even more comprehensive and deep. As the art of creating form, architecture is fundamentally symbolic.

In this, she echoes monumental art, where techniques and forms of architecture are actively used to give figurative completeness and essential significance to her creations. In its highest manifestations and images, devoid of any utility and practice, architecture itself becomes a monumental fine art of creation and existence of the entire Universe.

Architecture and music, as external arts, have an enduring significance in eternity, retaining their relevance as long as the World itself exists. As the mind evolves in the Universe and not only human, the humanistic and all other aspects of the relationship of any embodied consciousnesses may fade, and, accordingly, the inner arts will dry up and cease. But only not music and architecture, as a means of artistic expression of the foundations of the Universe and the existence of the World.

Architecture becomes art when it rises to artistic comprehension and figurative expression of ideas about the basic principles and ideas of the world order, about the place of man in this World and his co-scaleness of the Universe. The art of architecture is that aspect of the formation of the World and its creation, which is directly addressed to a person, his mind and feelings, and is associated with him.

Any architectural activity, regardless of the will and consciousness of the architect himself, is a semblance of the actions of the Creator and his hierarchies for the creation of the World and the creation of material forms of all Existing. And the more principles and ideas of the world order the work embodies, the more voluminous and deep, multifaceted and significant in the artistic sense the created image is.

The figurative expression of the principles of building the World by the mind may not be realized. But it is necessarily perceived at the subconscious level, creating emotional empathy for the emerging depth of creation. The use, all the more conscious, of various principles of the world order and the means of their artistic expression, leads to the fact that the architectural image can change both its meaning, significance and depth, and the degree of impact on human perception.

Cosmogony

Once in the wilds of the virgin landscape, the city dweller begins to feel the difference between the reality of nature and the artificial world of the streets of his native city and the cozy atmosphere of the apartment. Similarly, Space is our cozy city in a Universe that is completely different from it. Only having renounced our habitual objective world of objects perceived as a kind of unchanging given, one can consider the issues of cosmogony, which presents a certain psychological difficulty.

Creation exposes the basic principles of the existence of the Universe and the formation of structures that make it possible to generate existence in it. They also determine the direction of development of consciousness and life throughout the Universe. In Indian philosophy there is a well-developed idea of ​​how and what principles determine the process of creating the World. If we discard the religious and epochal aspects of this knowledge and use modern scientific understanding, then the following picture emerges.

Before the beginning of all times and worlds, in a state of chaos, the absence of any structure and being, the One is in a state of rest - in Non-Being. It represents the primordial Matter, in the form of its most "thin" part - pure energy. Rationality is an inalienable primordial property of any matter. The rationality of all, eternally existing pra-Matter forms the primary Consciousness. Reasonable pra-Matter (energy) with a single and all-encompassing Consciousness is the One, the Absolute.

Fundamental for any consciousness is the desire for self-awareness, which non-existence does not allow to be realized. In Non-Being - in the absence of any activity and structure, in a state of absolute rest - there is simply nothing to be aware of. The desire for self-awareness prompts the One to create from himself something - a structure in which there are processes, being, life - something in which he will be fully manifested, active and can act. We call it Peace.

To create the World, the One from passive Non-Being passes into active Being by dividing part of its energy into opposite states: Rajas (dynamics) and Tamas (statics). When states of mobility and inertia appear in the energy, an interaction is born between them, striving to compensate for the arisen division of Matter and return it to its former, integral state. The separate existence of Rajas (Yang) or Tamas (Yin) is impossible - they are born by the division of one.

There are two principles of the state of energy: movement and non-movement. The emergence of the principle of motion makes it possible for the very processes of matter change to arise - the energy of the One in the state of Rajas creates the possibility of the existence of Being as such, giving rise to all its processes and time itself. The principle of non-movement allows you to concentrate energy, condensing it to the field form of matter and substance - the energy of the One in the state of Tamas creates the possibility of the emergence of all the materiality of the World and any objects from it.

This separation of energy, constantly maintained by the One, is Sattva (harmony) or Tai Chi - a state of balanced interaction of opposites. The existence of Sattva, as a state of harmonious separation of the energy of the One, makes it possible to structure matter. Structuring makes it possible to give matter a form: to create Space, and from it and in it all the diversity of things. Sattva allows you to give birth to the entire manifested world of Existence, which exists as long as there is Sattva, as the energy of creation. Thus Chaos becomes Cosmos.

The energy of the One is the basis of all Existing. The beginnings - the principles of the state of energy - weave the entire matter of the Universe, their continuous action creates the World and Being. Sattva, revealing all the energy of the World, generates space - the source of all materiality. And Tamas and Rajas by their interaction form the Universe out of it. This action of the Beginnings in the creation of the entire diversity of the materiality of the World is carried out by the Elements and their elements - the principles of creating dense matter.

Condensing the energy of Sattva, Tamas allows you to create all forms of materiality, down to matter, giving rise to the existing. The formation of the entire diversity of the revealed matter of the Universe, the entire spectrum of materiality is determined by the Elements of the World. As the idea of ​​structuring and the state of the revealed matter of the World, the Element is an aspect of the energy of the One. There are five Elements of the World: Ether, Air, Fire, Water, Earth - it is they that determine the diversity of the states of the matter of all Existence.

One source of the Universe. Its essence is pure energy, the thinnest part of matter. From subtle to dense, all Existing is formed: smoothly passing from the weightless subtlety of the pure energy of Chaos, through the energy saturation of the matter of metaetheric, astral and ethereal fields, up to the dense structure of the substance of the Universe. By this the World acquires a multi-layered, multi-level structure of the organization of manifested matter - parallel worlds, planes of Existence arise.

In these parallel floors of the Universe, all objects and beings of the World arise. Similarly, they are formed from thin to dense. Proceeding from the One and manifesting consistently in each plane of Existence, they are formed from the matter of each parallel world. And when, as a result, a material object of the Cosmos arises, it retains the entire garland of its previous (at more subtle levels of Being) manifestations (bodies), forming, for example, in a person, the so-called aura.

Such structuring of matter leads to the fact that matter exists only in the Universe, as the densest world. In other subtle, higher planes of Existence, matter exists only in the form of energy fields. And accordingly, an object can act only in the world where it has its “body”, where it is materially represented (without a body made of matter, no spirit, mind, consciousness can physically act in our world).

The created structure allows Consciousness to be embodied in various objects of these worlds. This happens in the form of a multitude of “separate”, individualized parts, embodied in the form of the consciousness of both rational beings, and in the form of the mind (for others, and consciousness) of all material objects. The mind of the One has the opportunity to go through all possible ways of developing its evolution. And thereby realize oneself in all the diversity of one's existence and interaction in the World.

It is more effective to start self-awareness of the manifested forms in the dense worlds, where the restriction of the dynamism of matter and the freedom of manifestation creates conditions for the consciousness to make a clearer distinction and accuracy of perception. And the creation of the worlds continues until the material and most dense level of Being arises, where spatial existence in one-dimensional time is still possible - our Universe. It is here that the manifested consciousness of living beings begins to realize itself.

The denser and lower the plane of Existence, the more embodied objects of the mind are in it. The Universe, our Cosmos is the basis for revealing life and mind in the Universe, it is the cradle and the very beginning of the self-awareness of the World. The higher the plane of Existence and closer to the One - the fewer conscious objects, the larger, more developed, more significant they are. This gives rise to a hierarchical structure of matter and mind in the Universe, which allows it to be organized, controlled and supported in its evolution.

All Matter is reasonable: and not only the Principles of the World - Sattva, Rajas and Tamas, but also any other, smaller arrays of energy, material objects and processes in the World have consciousness. Planets, Stars, Galaxies have a highly developed, although completely different from ours, consciousness. These consciousnesses go their way of development in the processes of creation and evolution of the materiality of the World.

Together with the Principles and Elements of the World, the spirits of the peace-making hierarchies direct the processes of creation and formation of the materiality of the Cosmos. This activity eventually leads to the creation of conditions for the origin of life on the planetary systems of stars. On the Earth, besides the Elements of Nature, lesser spirits, the elementals, also undergo their evolution, spiritualizing all the elemental, natural processes of existence. Although compared to a person, they can be much larger.

The individualized parts of the consciousness of the One, having embodied in the form of the consciousness of living beings, begin their path of development and self-knowledge in the planetary worlds created by the evolution of the Universe. As they develop and improve, they gradually rise closer and closer to the One on the planes of Existence. And having finally reached the perfect unity and similarity of their manifestations with the One, they complete their separate evolution by merging with Him without losing their individual self-awareness.

shaping

All matter and objects of the World are the energy of the One divided into polarities, Sattva. Energy in other states cannot exist in the Universe. When the World is created by the influence of the Beginnings and Elements, the density of Sattva increases, changing its properties. Condensing Sattva becomes more and more tamasic, losing dynamism. By this, all objects of the Universe acquire the qualities of inertia and dynamism in their interconnection, showing polarity already at the level of the properties of the objects of the World. As a result, polarity manifests itself not only in the structure of matter, but even in the properties of material objects, thus causing their interaction.

The properties of any object are dialectically dependent on each other. Extremely small tamasicity of materiality always corresponds to a very large dynamics. Conversely, there is very little movement in a very inert and dense object. For the harmonious state of these objects and the entire Universe, they must interact, balancing the opposites of each other. This is how the empty Space is balanced by the emergence of dense planets and stars of the Universe. For Sattva is obtained by the division of one whole.

Sattva, as a manifestation of the interaction of two objects with pronounced properties of Yin and Yang, always implies the presence of oppositely weakly expressed properties of Yang and Yin. And it is by no means accidental that Trimurti (the trinity of Hinduism): Brahma, Vishnu and Shiva, had their female halves - Saraswati, Lakshmi and Parvati, forming Tridevi (the female side of the trinity). This religious construction only reflects the reality of structuring the objective, physical world of the Universe.

Vacuum, space (creating the very form of the entire Universe) is the most subtle matter of the World, very dynamic with a vanishingly small tamasicity. The substance of black holes in the Cosmos is the densest matter of the World, extremely inert with negligible dynamism. This is the maximum range of natural manifestation of the ultimate properties of Sattva in the Universe. An object with simultaneously extremely large properties of Rajas and Tamas cannot exist in the World.

Only an artificial object, for example, an architectural structure, can simultaneously have very pronounced properties of Rajas and Tamas (for example, in form) in their sharp interaction. This creates a concentrated state of sattva that is not inherent in the natural state of objects. The maximum expression of an idea, a principle arises, which forms a multi-level channel of influence, a multi-layered flow of information to a person - in other words, an image arises.

The amplitude of the manifestations of the Beginnings on Earth is also “attached” to the matter and objects of our world, although less than the cosmic one. From the density of the hot core of the planet to the cold of the rarefied layers of the stratosphere, from the darkness of rocks to the luminous ionosphere of the Earth. It is the interaction of Rajas and Tamas in matter, which changes its properties, that makes it possible to give the substance a form. The form is given by different degrees of manifestation of the Elements in materiality and arises as a boundary between different states of matter.

The formation of the Universe, astronomical objects of the Cosmos, geological formations of the Earth - all these are processes of shaping energy, matter, matter. The creation of the form occurs due to the occurrence of a difference in the concentrations of energy, field, matter. And it is caused by the thickening influence of Tamas on the matter of Sattva, which increases as more and more dense worlds are created. The creation of the Space and plans of the Existence of the Universe, stars, planets and galaxies in the Cosmos, mountains and landscapes on the planets, is cosmic and natural architecture as the art of shaping in general.

This natural shaping is a derivative of the Tamas function. It is quite possible to create a form, according to the principle of opposites, with an extremely minimal manifestation of Tamas - the creation of a boundary with the help of a wall, a fence, a shell, a shell, any membrane in general from a matter of a different state that delimits the environment. In its limit, the shaping of such a plan is possible without Tamas at all - in the form of an illusory border, a line, just a symbol.

The pyramid of Khufu (Cheops) was created by the architect Hemiun by the formation of a rock monolith, the concentration of matter, piling up stone blocks. The glass pyramid of the Louvre was created by the architect Bei Yu Ming, forming its forms only by the designation of boundaries, an illusory symbol illustrating the very principle of the existence of a form, as a boundary between two volumes. The glass pyramid is made with an extremely small manifestation of Tamas - directly opposite to the pyramid of Cheops.

The practical (not symbolic) architecture is more complicated. It operates with both external and internal forms, thereby generating the structure of the architectural space. And this is the interaction of Tamas and Rajas, as cosmogonic principles, in the structure of objects. Materiality acquires structure when Rajas (emptiness) is introduced into Tamas (substance). In our consideration, we will confine ourselves to external shaping, as the basis that determines the imagery of an architectural work.

Rajas necessarily participates in shaping (the basis of which is created by Tamas). The balance between Tamas and Rajas is sometimes elusive and subtle, but it is he who gives the nuances of imagery. After all, the volume of space described by the dome and the polygonal tent is almost identical. But what a striking difference in the quality of the form is either the female or the male aspect of the image. Giving the form of this or that figurativeness, this or that quality is the most important question of architecture.

The appearance of a form also depends on the level of manifestation of energy in the Universe. By creation, an ordered structure of the World arises, based on the possibilities of manifestation of matter. The density of matter, as it flows from the One and the creation of the World, grows, up to the density of the material Universe. Depending on the density, materiality acquires different properties. It is these differences that make it possible to speak about the layers of the Universe, about separate worlds, about the planes of Existence.

The Plans of Existence create different levels of organization of the Cosmos, and thus the entire process of the formation of the World is decomposed into floors: the Universe - the Plans of Existence - the Universe. In the Universe: Galaxy - Solar system - Earth. The reflection of this level structuring in the shaping of a person gives rise to a division: design of premises - architecture - urban planning - metropolis (territorial complex). This is a natural illustration of the existence of a vertical scheme of organization of the Universe.

Hermes Trismegistus is credited with the words: “What is below is like what is above, and what is above is like what is below.” This is a reflection of the understanding that a small circle of basic principles of building the World through interaction at different levels of Being gives all the diversity of life. The existence of each level of the structural organization of the Universe follows the same laws. But the Principles of the World manifest themselves at all levels of Existence according to the possibilities of each level.

And if at the level of the One Rajas and Tamas reflect the universal principles of energy structuring and the existence of the World. Then at our level, the interaction of these principles gives the dialectical properties of objects (male and female in the living, the duality of electric charges, etc.) and the polarity of all the processes of our existence. Therefore, the display of seemingly simple and banal things known and understandable to everyone can reflect the principles of construction of all Existing.

To be continued...

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