Paper architecture as a social phenomenon. "Paper Architecture Technique"
In the USSR, the "paper boom" arose during the period, in the words of the art critic A.K. Yakimovich, "late Soviet civilization". By the beginning of the 1980s, the era of a rigid and uncompromising division into “ours” and “yours” gradually became a thing of the past, exposing “totalitarian anarchy” in the socio-political sphere, when confused and misguided moods prevailed in society. In the book "Flights over the abyss. Art, culture, picture of the world. 1930 - 1990" Yakimovich, in order to understand the context of the fine arts of the eighties, suggests paying attention to the work of the Soviet thinker Merab Mamardashvili "How I Understand Philosophy", where the philosopher addresses the existential problem of a confused person. Yakimovich draws parallels with Mamardashvili's discourses on the theme of being and non-conformism, but we can go a little further and throw a similar bridge on conceptual paper architecture.
Indeed, the plots and moods that are taken into account by architects-"wallpapers" are in many respects close to Mamardashvili's ideas. The philosopher writes about the use of tradition, which creates the appearance of continuity of development, erasing the boundaries between “old” and “new”, he is concerned about the historical formation of man, his loneliness, total lack of independence: “he constantly returned to the theme of the anthropological catastrophe hanging over people. The thinker had in mind nothing more than the loss of orientation and the inability to rely on any criteria.<…>The human personality has become disorganized and vague.” These theses were explicitly or implicitly reflected in the projects, experiments, and installations of conceptual architects. For example, the theme “survival as a philosophical problem”, which is clearly read in the graphics of Anatoly Zverev and Dmitry Pavlinsky, also slips into the works of wallets associated with plots of imaginary stability, the creation of a home and the death of a utopia.
Along with personal problems, the “walletmakers” were also concerned about professional problems, which they smoothed over by going into graphics: in the absence of real practice, the helplessness of the architect as an architect appeared, i.e. formed professional dysfunction, the inability to be a master of his craft. And here, of course, the general crisis of self-identification and the formation of an artist, associated with the costs of postmodernism, is exposed. Although outwardly wallets cannot be called suffering, their work, no matter how trite it may sound, is rather a reflection of the era. Hide, hide, dissolve, disappear - these are the main postulates, most often laid down not even by the wallets themselves, but by the organizers of the competitions, which made it possible to speak out and reflect on the topic.
Of course, when talking about a new type of philosophy in paper architecture, the question inevitably arises of the role of "wallets" in Soviet culture. Judging by the art criticism of that time, then until the end of the nineties, i.e. before the decline in interest in paper projects, there was a widespread opinion that the "wallets" are the successors of the architectural trends of the 1920s and 30s, and revive the utopian ideas of Soviet constructivists. Such a comparison suggested itself due to the fact that the place of "wallets" in Soviet culture remained unclear due to the short duration of the phenomenon. But now it is obvious that in addition to some similarities in style, the difference between these periods is great. Even if we look at the fantasies of Leonidov and Chernikhov, we will see work with forms for their subsequent embodiment in real buildings, while the "wallets" simply do not have such a goal. “The projects of the 20s were a positive and constructive dream of the future, albeit temporarily unattainable for technical or other reasons, but preserving the desirability of implementation,” writes I. Dobrytsyna. “The wallet projects for the most part did not openly join this, insisting that their projects are free architectural fantasies and there is no point in realizing them.” By and large, the "wallets" of the eighties were not at the forefront of architectural thought and were not ahead of their time, but worked with the present, while reviving some images of a bygone era and carrying out its partial reminiscence.
A.G. Rappaport, through whose efforts the paper architecture of the 1980s. quite accurately recorded both in the domestic and foreign press, constantly trying to draw a historical analogy for it. As if not believing in the independence of the phenomenon, in his recent article “Once again about paper architecture”, he proposes to compare the work of the “wallets” not with constructivists, but with OBERIU, emphasizing the similarities in the use of scientific and philosophical culture by both sides. As an example, A.G. Rappaport cites the poem “Objectless Youth” by A.N. Yegunov, a writer from the circle of the Oberiuts. The irony over the utopian consciousness, which became widespread in his poem, in his opinion, 50 years later moved to the paper projects of Moscow architects, allowing them to create a metaphorical poetic game by means of graphics. But the comparison of these philosophies is already inherently not entirely correct, since the historical conditions and the very existence of the Oberiuts and the “wallets” of the eighties are strikingly different: the latter, as a rule, came from intelligent prosperous families, did not live in cramped conditions and were neutral towards authorities, which is felt in the non-politicized nature of their work, while almost all Oberiuts were subjected to repression.
It is interesting that in his early articles of the era of paper architecture, A.G. Rappaport was just trying to shift the focus towards politics, which fueled interest in "wallets" in the West. If you look at the publications of those years, you can see that the domestic press, through the efforts of critics close to the circle of architects, is rather neutral, while the western one (the East, despite the popularity of "wallpapers", also remained out of political assessments) tends to classify "wallpapers" as nonconformism era of post-totalitarianism. Foreign publications somewhat artificially insisted that paper architecture is a politicized protest, in particular, this can be seen from the catalogs Postmodernism. Style and Subversion 1970-90" and "Papierarchitektur: neue Projekte aus der Sowjetunion". For example, the last of the catalogs says the following: “Paper architecture, of course, is only a part of that nonconformist culture that is gradually gaining the right to exist in the USSR. The necessary revision of the principles of socialist realism is becoming one of the main problems for all areas of artistic activity. However, the development of such thoughts can be detected, including now, by looking into books on architectural postmodernism: “paper projects,” writes the historian and theorist of architecture I. Dobrytsyna, “is a form of thinking about how many ideas of existential content could to express architecture through metaphor without being so shackled by economics and ideology.” And it seems that, formally, all this is true, but with regard to "wallets" this is said with an exaggeration. Ideology did not excite architects as much as it was commonly believed in the West, and now the "wallets" themselves are unanimously talking about this, not inclined to give a non-conformist meaning to their youthful searches. For international competitions, of course, the political background was important, since interest in the closed country of the USSR was heightened, and therefore, in each paper project, they looked for features of infringement and discontent. However, the projects of the wallets were easily censored and sent to competitions far beyond the borders of the country, and it should be assumed that this was not at all due to the fact that, as Rappaport writes in articles of that time, censorship critics did not know how to react to these ironic work. It’s just that ideologically, the “wallets” were not dissidents at all, but retained imperturbable political indifference, showed initiative even in cramped circumstances in the absence of real creative work, ironically, but absolutely without malice, joking at Soviet realities.
Although, of course, it is worth noting that in terms of the type of organization, the use of artistic citation of cultural abstractions and concepts, the predominance of a comic beginning, “wallets” are quite close to the circle of Moscow conceptualists, who are usually referred to as unofficial art. With their dashing and cheerfulness, the projects of the "wallets" resemble the works of D. Prigov, I. Kabakov, E. Gorokhovsky, E. Bulatov, V. Pivovarov. But if the work of the latter was often quite politicized, and their postmodernism was indirectly or directly addressed to the authorities, then such a tendency was almost not observed among paper architects. Ilya Kabakov, who preserved in book format Notes on Unofficial Life in Moscow for the period 1960-70s, noted that both in the seventies and in the first half of the eighties, a distinctive feature of typical unofficial art, in addition to ideological positions and life in permanent fear, there was also a purely economic factor: as a rule, cramped life circumstances and the need to earn money by trying to sell paintings, doing book illustration, etc. "Wallet"-conceptualists received cash prizes for winning competitions; therefore, of course, apart from stylistic and symbolic moments, nothing brings them closer to unofficial art. According to A. Yakimovich, the very division into unofficial and official art took place precisely not on stylistic grounds, but on sociopolitical grounds: “those who were not allowed to attend authorized official exhibitions or who did not want to participate in them themselves became “unofficial””. But in the 1980s. an artist of a completely new type began to take shape, who pretended that the ideological imperative did not exist at all. It is precisely this type that “wallets” began to gravitate to, ignoring questions of ideology. They, as G. Revzin noted in a project dedicated to Mikhail Belov, looked like hippies, lived in their own small commune and created the world and system around themselves. “Wallets” are among the first who began to work in groups in conceptualism and paper architecture.
There is a theory that the culture of postmodernism is “radical conservatism”, which revives the old aesthetic categories and beats them in its own way. According to the art historian A.K. Rykov, postmodernism encourages emotionality and pays great attention to quality criteria, welcomes originality and the author's beginning, while refusing the cult of novelty and the creation of new types of artistic creativity. In this sense, “wallets”, consciously following the traditions, clearly represent the meanings of postmodernism, since they take the forms that have become classics as a basis and add their own conceptual “stuffing” to them. Moreover, they also play with dystopia, another characteristic of postmodernism, by appropriating its ideas of destructive progress. But here there is also a discrepancy with postmodernity, which does not have a pronounced romantic beginning: moving towards irony, the "wallets" in their projects retain the opportunity for the author's and audience's dreams, maxims and dreams.
The era of paper architecture, which ended in the early 1990s, crossed out all further development of this genre, as virtual architecture picked up the baton. Gradually, according to real, and not fantasy projects, “wallets” began to build houses in Moscow and in the Moscow region, and many of them were replaced with computer technology. Layered projects, axonometry, sections and plans captured in etchings are a thing of the past, and it became possible to immediately see the final object on the screen. And if the desired result can be carefully considered in 3D models, then the need to use allusions and symbols to reveal the image is a thing of the past. The current architectural fantasies (or, as G. Revzin calls them, “fantasies”), for example, by the futurologist Artur Skizhali-Weiss, are already completely far from the philosophy that was formed in the 1980s, there is no intellectual game or joke in them, this just a qualitative construction of some future on the ruins of the past, including the remains of conceptual paper architecture.
Now, a quarter of a century later, we can confidently speak about the influence of the "paper" stage on the creative biography of the founders of this direction. Alexander Brodsky turned from a “paper” architect into an artist: he reproduces atriums and fantastic structures made of glass and wood not in etchings, but in museum spaces, creating conceptual installations and art objects. Open to all winds, his huge wooden Rotunda stands in the Nikola-Lenivets park, with its open form clearly reminiscent of numerous graphic villas created in collaboration with Ilya Utkin, who, unlike his colleague, founded an architectural studio and actually builds residential country houses. At first glance, in his projects, little remains of the "paper" period, but sometimes the capitals and marble lining seem to repeat the details of theatrical etchings or interior elements of the Atrium restaurant. It is interesting that in 2011 I. Utkin together with P. Angelopoulou at the Museum of Architecture. A.V. Shchusev in Moscow created the installation "Children's Reliquary", apparently immersed in nostalgia for the conceptual games of the 1980s (Fig. 58). His "reliquary" is a precious chest, a real home for a child, where he can be left alone with his fantasies and store his relics. Mikhail Belov, who already at the "paper" stage was balancing between neoclassicism and postmodernism, now adheres to the same sentiments in real architecture. Playgrounds in the Lego style in the spirit of Aldo Rossi (Fig. 59) side by side with classicist mansions and "imperial" and "Pompeian" houses, and the "English Quarter" resembles the Towers of Babel. Mikhail Filippov, according to G.A. Revzin, continues the mood of the “World of Art Petersburg” in architecture, creating mansions in Moscow and new ski villages in the Olympic Sochi. Dmitry Bush also operates with complex forms, but not in graphics, but when designing multifunctional stadiums. The former “walletmakers” are no longer faced with the task of balancing on the verge of official and unofficial art or choosing a “third” path, they have gained fame and are free to choose an architectural direction, but in the absence of regular fantasizing on a given topic, it is now much more difficult for them to show their individuality, as it was in the "paper" period.
Conclusion
Putting forward the thesis that the Soviet paper architecture of the 1980s became a socio-cultural phenomenon, we took into account the context of Soviet realities, without drawing comparative analogies with foreign processes, since this is a separate rather extensive topic. However, in conclusion, it is appropriate to explain why international competitions were won mainly by "wallets" from the USSR. The fact is that in the competitions held by Japan Architect, OISTAT or UNESCO, their works were presented mainly by architects under construction from Europe and the USA, who, in addition to competitive activities, were engaged in real design, while Soviet architects were completely concentrated on "paper" construction. Moreover, these competitions were numerically dominated by participants from the USSR, since the very first prizes they won aroused active interest and healthy competition among Soviet architects who were ready to fantasize for the sake of fantasizing, and were not burdened with current projects. Therefore, it is important that, despite the short duration and transience of the competitive period, it involved a large number of architects starting their way.
The existence of the phenomenon of conceptual paper architecture in the 1980s in the USSR was due, firstly, to the lack of initiative in the real planning sector, secondly, the participation of young architects in numerous international competitions, and thirdly, the interest that arose in Soviet "wallets" at first abroad, and then in their own country, which provoked a long exhibition stage for them. The concept of “paper architecture”, which was revived again in 1984, entered the international level, acquired a fundamentally different meaning and formed a new typology, since it combined rich cultural and historical allusions with trends characteristic of the actual artistic processes of that time. In their works, “wallets” approached revealing the very essence of the theme given by the competition, its ideas and poetics through architectural citation and a strong connection with literature, and “fantasizing on the theme” on such a scale and of such quality became a truly extraordinary phenomenon. The autonomy of the conceptual paper architecture in the USSR of the 1980s is also confirmed by the fact that its philosophy remained independent and only partially coincided with the cultural paradigms of society, and socio-political factors influenced only the topics raised in the "paper" projects, but not the very structure of this direction. Thus, based on the study of the above materials and the analysis of the historical context, it can be argued that the Soviet paper architecture of the 1980s formed its own aesthetics and became a sociocultural phenomenon at the intersection of architecture and fine arts.
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Claustrophobia Villa
"So the nightingale sings,
As if the bars of a cage
Can't see ahead."
"A house with an atrium is like a closed person, completely immersed in the endless spaces of his Inner World - the Inner Courtyard. The Inner Courtyard is the whole Universe for those who cannot or do not want to go outside. Our Atrium is a mirror funnel inserted into a stone house, having no windows. The funnel is mirrored from the side of the courtyard and is transparent when viewed from inside the building. All the rooms located along the perimeter - let's call them rooms, or cells, or cells, or chambers, it doesn't matter - go into the funnel with one glass wall. The inhabitants of the house look from their rooms to each other, but they see infinity."
Bridge over a precipice in high mountains
"A chapel with glass walls, a glass roof and a glass floor, standing over an endless, bottomless crack between two abysses."
"Forum of a Thousand Truths"
"You can't grasp the immensity. We spend years and years wandering in the wilds and feverishly collecting knowledge and in the end we realize that we have learned nothing. Nothing that we really needed. Information that can be bought for money is not worth it pay for it. We can't take in it at a glance, we can't get enough of it. It always contains an admixture of lies, because it comes from people, even when perceived through a computer. But no computer will tell us the most important. Real information It is available to those who can look, listen, think. It is scattered everywhere - in every spot, crack, stone, puddle. One word of friendly conversation gives more than all the computers in the world. Floating through the forest, walking through the field, the visitor The Forum may find its truth - one of the thousands."
"Inhabited Columbarium"
"We present works from a series of projects made by us for competitions of the magazine "J.A." from 1982 to 1986. The project "Inhabited columbarium" (competition "Cube 300x300x300") - a building in the city in the form of a huge concrete cube. What is its meaning? "A house dies twice. The first time - when people leave it, that is, a person is a soul Houses. The second time, and finally - when it is destroyed ... In some imaginary city, where the new architecture almost completely replaced the old one, small old houses are still preserved - each with its own long history and with people merged with it into one whole. All of them are doomed - they must be demolished to make way for something new. One fine day, some people come to the owner of a small old house and put him before a choice: he can renounce his house and move to a large new building. Then the old house is destroyed, and its facade is placed in one of the niches on the facade of the Columbarium. The owner can always come and, having risen to the desired floor, stand next to the wall behind which he has lived for so many years. If he wants to save the life of his house, the humane administration goes to meet them: the house is carefully transported inside the Columbarium and placed in one of the deep internal niches, connecting it to the necessary communications. However, this is done on one condition: the owner must still live in his house, despite all the oddities of life on a shelf in a huge concrete crypt. As long as people live in the house, the house is also alive. But as soon as they can't stand it and give up, the house disappears and its facade, like a death mask, appears in a niche outside.
"Museum of the Lost Houses"
"A theater without a stage or a wandering auditorium with 198 seats"
"Have you ever seen people who are being driven around the city in a covered truck, and they, having pushed back the canvas curtain, look out with curiosity - at ordinary streets, houses and people?
The life of the city - constantly changing, unpredictable and mysterious - is a spectacle for those who know how to watch. You need to feel like a spectator, look at the streets, courtyards, people and cars through the frame of the theatrical portal - and then the meaning of the performance will begin to open up, where everyone plays their own small unique role. Our theater does not have a permanent stage - in its endless journey through the city, it stops at the most unexpected places and raises the curtain in search of new performances, new scenery, new actors. A professional troupe can also perform on its stage, but also a passer-by playing his mysterious improvisation, having caught the eye of the audience, can break a storm of applause ... "
"Theatre of the Future"
"A ship of fools or a wooden skyscraper for a cheerful company"
"Island of Stability or Open Air Sculpture Museum"
Villa "Nautilus" or Stronghold of Resistance
"Glass Tower"
"Intellectual Market"
"Dollhouse"
"Nameless River" Glass monument 2001
"Crystal Palace"
"Modern Museum of Architecture and Arts"
"A Hill with a Hole"
"Wandering Turtle"
Despite the short duration of the phenomenon called "Paper Architecture", its cumulative collection is very extensive. Therefore, the curators have a great degree of freedom in combining her works both with each other and with works from other eras. For example, at the next exhibition, which is planned to be held at the Museum of Architecture, the works of the "wallets" can be seen along with the works of their predecessors - Soviet architects of the 1920-1960s. At the current exhibition at the Pushkin Museum, curators Yuri Avvakumov and Anna Chudetskaya placed 54 works of wallets in a “company” with 28 architectural fantasies of masters of the 17th-18th centuries. from the museum collection: Piranesi, Gonzago, Quarenghi and others. To combine in one space two epochs of fantasy and architectural creativity, our contemporaries with their "forefathers", according to Avvakumov, was the conceptual idea of the current exhibition.
Russian paper architecture is a rather specific phenomenon that had historical precedents, but no contemporary foreign counterparts. This phenomenon was generated by the special conditions that developed in domestic architecture in the last decades of Soviet power. Being artistically gifted people, young architects, for well-known reasons, did not have the opportunity to realize themselves in the profession and went into the “parallel dimension” of purely fantasy creativity.
The history of Russian Paper Architecture is inextricably linked with the conceptual competitions held by OISTAT, UNESCO, as well as the magazines Architectural Design, Japan Architect and USSR Architecture. Their organizers sought to search for new ideas, and not to obtain solutions to specific "applied" problems. And the greatest number of awards went to participants from the Soviet Union, who were able to draw attention to Russian architecture after a long break.
Unlike their predecessors (primarily the avant-garde artists of the 1920s and 1960s), the conceptualists of the 1980s did not seek to create utopian images of an ideal future. There was no futurological component in the works of the "wallets" - their teachers, the sixties, had already exhaustively expressed themselves on this topic. In addition, the eighties are the era of postmodernism, i.e. reaction to modernism, which for several previous generations was the "future". By the time Paper Architecture flourished, the “future” had already arrived, but instead of general happiness, it brought disappointment and disgust. Therefore, "paper" creativity was a form of escape from the gray, dull Soviet reality into beautiful worlds created by the rich imagination of educated and talented people.
The specificity of paper architecture was the synthesis of expressive means of fine arts, architecture, literature and theatre. With all the variety of styles and creative manners, most of the "paper" projects were united by a special language: an explanatory note took the form of a literary essay, a character was introduced into the project - the "protagonist", the mood and character of the environment were conveyed by drawings or comics. In general, all this was combined into a kind of uvrazh, a work of easel painting or graphics. A special direction of conceptualism arose with a characteristic combination of visual and verbal means. At the same time, paper architecture was associated not so much with parallel forms of conceptual art, but was, in fact, one of the varieties of postmodernism, borrowing both its visual images and irony, "signs", "codes" and other "games" of the mind .
The name "Paper Architecture" arose spontaneously - the participants of the 1984 exhibition, organized by the editors of the magazine "Youth", adopted the phrase from the twenties, which had initially abusive meaning. The name immediately caught on, as it played on two meanings. Firstly, all the work was done on whatman paper. Secondly, these were conceptual architectural projects that did not involve implementation.
A special place in the activities of the wallets belongs to Yuri Avvakumov, who played a key role in the design of an episode (albeit a bright one) of the cultural life of the 1980s. into a complete work of art. It was he who cemented the disparate participants into a single array. Being himself an active creator, he served as an "information center", a link and a chronicler of the movement. Collecting the archive and organizing exhibitions, he brought the activities of the wallets to a fundamentally different level, turning it from a narrowly professional into a general cultural phenomenon. Therefore, it will not be a big exaggeration to say that Paper Architecture is Avvakumov's big curatorial project.
However, there was no movement as such - the wallets were too different. Unlike, say, the Pre-Raphaelites or the World of Art, they did not have common creative goals and attitudes - the “wallets” were a collection of individualists who worked either together or separately. The only theme that united them was architectural fantasy, which makes them related to Piranesi, Hubert Robert or Yakov Chernikhov.
The works of Paper Architecture, alas, are not very accessible to the general public. One of the reasons is the fundamental impossibility of their constant or at least frequent exposure: unlike canvas, paper is very sensitive to light. Until there is a technological revolution in this area, the hypothetical Museum of Paper Architecture will be virtual, which in principle is congenial to its very phenomenon.
It turns out that the rarer exhibitions of Paper Architecture are held, the more valuable they are. In this context, one should also consider the current one in the Museum of Fine Arts, which occupies a cozy hall behind the Greek courtyard. However, despite the chamber character, the exposition is quite capacious. Many works have been collected as "hits" ("House-Exhibit for the Museum of the 20th Century" by Mikhail Belov and Maxim Kharitonov, "Crystal Palace" and "Glass Tower" by Alexander Brodsky and Ilya Utkin, "Second Dwelling of a Citizen" by Olga and Nikolai Kaverin), as well as those that have not previously been exhibited ("Hedgehog House" by Andrey Cheltsov) or exhibited infrequently (works by Vyacheslav Petrenko and Vladimir Tyurin). Each exhibit requires careful examination, contemplation, immersion in it; behind each work there is a whole story, if not the whole world. Capriccios of the old masters, including the famous "Prisons" by Piranesi, occupy the central space of the hall, and "wallets" encircle them around the perimeter. Avvakumov's choice is somewhat subjective - some of the "wallets" are not (for example, Alexei Bavykin or Dmitry Velichkin), and someone is presented more modestly than he deserves (I mean, first of all, Mikhail Filippov, who, in my opinion , created his best works in collaboration with Nadezhda Bronzova during this period).
Everything is clear with the first part of the title of the exhibition. But how to understand the second - "The End of History"? After all, the "funeral" of Paper Architecture took place in the early nineties. By uniting representatives of two different eras in one space, the curators wanted to draw a symbolic line under the five-century era of paper (the mass transition from parchment took place about 500 years ago). Ironically, its final chord was the Russian Paper Architecture. In the nineties, a new, computer age came, which subjected to a radical revision not only the design process, but also the entire architectural work. So the future paper architecture will be paper only in an allegorical sense. At least until the lights go out.
The sponsor of the exhibition is AVC Charity.
Galina Naumova
Target:
Develop artistic spatial thinking and creative imagination in the process of productive activity (artistic processing of paper) .
Tasks:
Teach your child to put himself in front of himself
goal and find ways to achieve it;
Contribute development of cognitive and creative
abilities to encourage self-reliance
fantasizing.
- Develop an eye, skills and abilities.
Contribute development of creativity and initiative.
Contribute development of artistic taste.
Contribute to the education of diligence, desire
bring the job to the end.
Contribute to education patriotic children
Paper- accessible to the child and versatile material, used not only for drawing, but also in artistic design. Particularly attractive children the opportunity to create such handicrafts, which will then be used in games, were donated for the holiday.
paper plastic one of the easiest and most affordable ways to work with paper. It allows the child to discover the magical world paper. Paper, scissors, a little imagination - and now unusual images: figurines of people and animals, gardens bloom, cities grow.
What do classes give paper plastic:
Industriousness is brought up, the desire to bring what has been started to the end
Developing constructive and creative abilities
Developing planning skills, create a design according to the sample
Children learn how to transform geometric shapes
Developing fine motor skills of the hands
Aesthetic taste is formed
We know seven basic techniques for working with paper:
1. Folding:
fold paper can be in a straight line and curved. When folded paper in different directions, folds and folds of various shapes and sizes are formed, the so-called stiffeners - they give the resulting volumetric shape elasticity and strength. The direction of the folds can be inward and outward, alternating, parallel. From the choice of bending technique paper depends on the type of surface to be converted. So, by straight bending from a flat sheet, a surface with flat edges is created. (harmonic). Reception of curvilinear bending allows you to get a curved surface of arbitrary shape
2. Flexion:
The curved surface is formed by cylindrical or conical bending of the sheet without wrinkling. The bending of the sheet gives it a margin of safety and the ability to withstand a certain load.
3. Twisting:
Strip paper twists into a tight spiral. It will be convenient to start winding by winding the edge of the strip onto the tip of a sharp object (pencil or knitting needle). As a result, a tight spiral should form. It will be the basis for the further diversity of all forms. These figures can be very different depending on the ideas of the author.
4. Crease:
Sheet paper creases in different directions, which creates a beautiful surface texture. Such paper used in layouts where characteristic processing is required, a feature of finishing some details.
5. Tearing:
This is a violation of the structure of the sheet manually in a certain place, resulting in the formation of a loose border.
6. Cutting:
This is a violation of the structure of the sheet with scissors or a knife. The result is smooth edges.
7. Piercing:
Making holes with an awl, needle, punch or other tool.
Two types of connections are used to perform connecting operations. paper, detachable and non-detachable. Non-removable connections include all types gluing: to the edge, overlap, end.
Gluing to the edge and overlap are used more often than others. The glue is applied in a thin layer, and then one sheet or part of it is superimposed on another. In end gluing, the adhesive is applied either to the plane of the sheet or to the end part of the sheet to be joined.
Then the sheets in a horizontal position are pressed and allowed to dry. This method is used for gluing narrow strips paper.
Detachable connections include those that allow, without much damage to the product, to assemble it and take apart: external lock connection, internal lock connection, flat and volumetric weaving, bonding with paper clips, adhesive tape, etc.
The most interesting, but, unfortunately, rarely used in practice is the connection to the castle. On one or both sheets, external cuts are made in certain places, but not more than to the middle, since the strength of the product depends on this. Then one sheet is inserted into the cut of the other until it stops. Another interesting connection to the castle is internal. In this case, a cut or hole of any profile is made on one sheet with a cutter. Then the second sheet is inserted into this slot or hole and takes its shape. Interesting, in my opinion, is the weaving connection.
In flat weaving, stripes are usually used paper, which in a certain order are pushed under each other. Sometimes parallel cuts are made on one sheet, and then strips are pushed into them. paper. At volumetric weaving two or more stripes paper impose on each other.
In practice volumetric modeling is very convenient to apply the method of connecting sheets paper using paper clips. It allows you to easily and quickly connect multilayer structures. For example, you can fix the edges of a bent cylinder or cone, and if necessary, just as easily correct it - make it narrower or wider. Staples can be used as clamps for overlap bonding.
shaping:
Paper very plastic and "memory", i.e. any operation with the sheet leaves traces on it. To give a sheet volume paper and strength, stiffeners are used, which give it rigidity and elasticity. Geometric bodies can be divided into bodies of revolution - a cylinder, a cone, a ball, and polyhedra - a pyramid, a prism and a cube. All geometric bodies, with the exception of the ball, can be made from paper.
All bodies of revolution are obtained by twisting the sheet paper. And only then it is easy to get a tetrahedral prism from a cylinder, and a pyramid from a cone by folding. The fold of the sheet concentrates all the rigidity of the structure, therefore it is the most durable stiffening rib.
The most interesting form transformation technique is "reverse fold".
Two cuts are made on a rectilinear fold, and then the surface between them is pressed inward, and, having folded neatly, is ironed. On the basis of such a fold, many transformations of different profile and size can be made.
paper architecture.
To teach children to create models of buildings, it is necessary to introduce them to such important elements as different types of windows, doors and roofs. Windows are rectangular. double and arched.
It is necessary to remind the children that the window is in the middle of the wall, and not at the corner of the house, so the wall plane must be folded in half and two horizontal cuts should be made along the fold (distance between notches - window height). Then cut vertically along the fold between the horizontal cuts and bend window sashes to the sides.
For an arched window, we again fold the wall surface in half, only the incision will not be straight, but arcuate and the surface is folded inward (shows wall thickness).
Doors can also be divided into rectangular single leaf, double and arched. For single leaf doors make a vertical cut from the bottom of the wall, then, unfolding the scissors, horizontal. We bend aside, the door is ready.
For double leaf the door surface needs to be folded again, make one horizontal cut and cut vertically from the bottom along the fold.
arched doors
To make the roof of a building, you can use different geometric shapes, for example, a cone is suitable for a tower, which can be left unchanged, or you can cut the edges and bend them outward. Get a version of the old tower. And you can cut the edges and insert them inside the cylinder, get a variant of the dome.
Well, if the tower has the shape of a prism, then it needs a roof in the shape of a pyramid.
You can also make a roof based on a cylinder using the technique "reverse fold" or various additions in the form of a rectilinear fold. And for the Asian tower - a minaret, you can make a roof of stripes paper.
One of the simplest roof options is a gable roof. But on its basis, you can make many different options by applying again the technique "reverse fold" or various additions.
Consider the sequence of work on the layout Houses: prepare the necessary materials and tools,
from a cylinder - blanks, we make the walls of the house with windows and a door, a large strip paper bend in half and glue near the fold, make tubes from small sheets by winding them on a pencil
We collect the layout.
We build a model of the temple (churches).
We make blanks: narrow and high cylinder, low but wide cylinder and cone.
We transform a wide cylinder into a prism, cut through windows and a door, the top of the walls can be made by bending the edges inward, or you can cut it in the form of three arcs or even use curly scissors. Then a tall cylinder is placed inside the walls, this is a drum, and on top we place a cone - a dome.
From such layouts, you can build a whole modern, ancient or city of the future. Here's what we got
You can create layouts not only from geometric shapes, but also paper tubes - logs. For example, log buildings, such as they were in Ancient Rus'.
Paper architecture: utopian fantasies on paper
Ignoring censorship, successfully positioning on the global creative arena, the desire to dilute the monotonous gray reality - this is what the Paper Architecture movement is. Today this phenomenon would be called a project, but then - in the 80s, at the decline of Soviet power - it became a vivid manifestation of postmodernist sentiments, which were based on the rejection and rethinking of the values of modernity.
As the architect and architectural theorist Alexander Rappaport writes, young professionals tired of the “lenten menu” have entered a new era, which he calls the phrase “post-post”: “In part, the properties of paper architecture coincided with the aspirations of many Soviet architects, exhausted by the asceticism of the official architectural ideology, on the banners of which it was written - "savings, savings and again savings," he writes in one of the studies.
"Paper architecture" is an area of fantasy that appears outside the socio-cultural context and temporal concepts. This is a kind of game, pampering, the boundaries of which the architects themselves did not build, and the censors ignored, because they did not see obvious threats.
How did everything start? It was precisely as a trend that "Paper Architecture" appeared in the USSR in the 80s of the last century, although isolated cases were encountered earlier in other countries. During this period, novice masters begin to participate in major international competitions (OISTAT, UNESCO, Architectural Design, Japan Architect magazines), and become winners, striking the jury with the scale of their ideas. Projects made only on paper could never be realized, which partly contributed to the fact that architects could depict even the craziest ideas, turning them into full-fledged works of art.
Architects, limited by ideological and political boundaries, created a new world on paper, in which there were no labels and boundaries - complete freedom and independence, a utopian parallel space.
The founders of the movement are Alexander Brodsky, Ilya Utkin, Mikhail Belov and Maxim Kharitonov. Yuri Avvakumov was the locomotive of the wallets, thanks to whom the movement took on full-fledged forms and came out into the light. It was he who collected archives of works and arranged exhibitions, supervised and directed architects.
Architects always initially present the project of the future object, and only then, in case of approval, the implementation stage begins. Why did the sketches created at that time turn into a whole separate direction? The fact is that the architects initially understood that their ideas would never come to fruition, so they approached designing on paper from the artistic side, giving the works a special graphic and symbolism. Competitions, where the masters were able to express themselves, gave rise to the attention of the world community to Soviet architects. Their work was exhibited in the West as part of projects dedicated to, which aroused interest abroad.
It is impossible to determine the style and manner of the architects who worked within the "paper" framework - everyone experimented for their own pleasure, without abandoning their own aesthetic principles and guidelines. An explanatory note was attached to each project, which turned into a full-fledged literary work - with a hero, a plot and a special mood.
The fact that the drawings were forever drawings allowed the design itself to be perfect. Often, adjustments are made during implementation that change the ideal concept and are related to technical features. Before the "wallets" such a problem did not arise. “The term “paper” was ambiguous and partly inaccurate. It's not just the paper, it's the commitment to pure ideas, pure forms. The point is the futility of the idea,” says Alexander Rappaport.
In an interview in the early 2000s, one of the representatives of Paper Architecture, Ilya Utkin, told how it all ended: “And it ended when it became interesting to also embody all this with my own hands ... No, it didn’t really end. It didn't end because it's a normal job. Right now I am doing projects - after all, at first I have to draw the same paper architecture, architecture-idea, to propose one or another version of the structure. After all, this is the same thing, this is a sketch work, only then turning into stone and with such difficulty. So now, I think, another period has come: the period of architectural practice.”
In 2010, Yuri Avvakumov described an interesting story in his blog: back in 1983, together with Mikhail Belov, they developed a project for a vertical competition in order to send it to the competition in Japan. The drawing was called "Funeral Columbarium". “27 years have passed, and the future has come. A vertical cemetery is being built in Mumbai. Finally, someone besides us realized that it was more reasonable than to build on the bones with a shortage of urban land,” Avvakumov said.
Today, alternative projects of young Soviet architects have become classics, and the very direction of "Paper Architecture" has become the art of utopia.
