Minimalistinės formos savitumo aspektai
LTBe formos neįmanoma jokia architektūra, o minimalizmo atveju ji yra išskirtinai specifinė, todėl forma lemia minimalistinės raiškos pobūdį. Minimalių paviršių natūralų susidarymą gana dažnai galima stebėti gamtoje. Jai būdingas racionalumas, taupumas kuriant tobulas, harmoningas formas, o tai atspindi minimalistinės raiškos esmę ir patvirtina prielaidą, kad minimali forma arba paviršius gali būti ne tik griežtos geometrinės formos, bet ir aptakūs, plastiški. Aptariamos įvairios su minimalistine raiška siejamos formos ir paviršių suvokimo koncepcijos. Aptariant architektūrines formas daug kas priklauso nuo to, ar turima galvoje dinamiška gyvybės forma, atvira išorinėms įtakoms, ar negyvas objektas. Siekiant naujos išraiškos yra naudojami tokie elementai, kurių iki šiol, atrodė, neįmanoma panaudoti. Naujas požiūris į formą pastatų fasadus traktuoja ne kaip plokštumas, o dažniau kaip apvalkalą, odą, plutą ir pan. Akivaizdu, kad šiuolaikinių minimalistų nebetenkina XX a. 7-ojo dešimtmečio minimalizmo formų arsenalas, jie ieško naujų raiškos galimybių. Atsiranda konceptualus poreikis transformuoti tradicinę grynąją formą. [Iš leidinio]Reikšminiai žodžiai: Forma; Minimalizmas; Minimalūs paviršiai; Pirminės geometrinės figūros; Plastiškumas; Transformacija; Clarity; Conceptual pure form transformation; Expresion; Form; Minimal form and surfaces; Minimal surfaces; Minimalism; Plastic forms and surfaces; Plasticity; Primary geometrical figures; Simplicity; Transformation.
ENThe form - a factor determining the specific character of minimal expression. Any architecture is impossible without a form, and in the case of minimalism it is exclusively specific, therefore, the form determines the nature of minimal expression. There are signed out groups of material and idealistic factors determining the character of the form. Natural formation of minimal surfaces may be fairly often observed in nature. Here, particularly vivid is a rational, thrifty usage of the meter creating perfect, harmonious forms, and that results in the essence of minimal expression and corroborates the supposition raised in this work that a minimal form or surface may have not only a rigid geometrical form but surfaces may also be stream-lined, plastic. Minimalists using plastic forms and surfaces also seek precision, clarity, cleanness, simplicity like in the case of primary geometrical forms. New aspects of form perception. In this chapter various perception concepts of the form and surfaces related with minimal expression are discussed. While discussing architectural forms, to a large extent it depends whether we have in mind a dynamic form of life open to external effects or a dead object by which and in which these effects are fixed as the gestures of architects. It also depends on the fact what importance is attributed to the concept "new": whether it is a source of differences and new life or sameness and stereotypes. At present novelty is often associated with the ecological level of architecture.At the end of the 20th century it was observed both in arts and architecture that media means are coming into force, nonmateriality is being created and the digital basis is used for creation in the virtual space. These are the aspects of the new materialism that by integrating into architectural surfaces have an influence on their nature. Trying to find a new expression, elements that so far seemed to be impossible are used. A new approach to the form considers the facades of buildings not as planes but more often as a shell, skin, crust, etc. The textiles theory of S. Semper may be considered to be the first step towards the unrepresentative surface of architecture. This theory had an influence on experiments with animated surfaces by contemporary minimalists. It is evident that the arsenal of minimal forms of the sixties does not satisfy contemporary minimalists, they look for new possibilities of expression. There appears a conceptual need to transform the traditional pure form. [Text from author]
