CONSTRUCTIVE GEOMETRY IN FORMATIVE DESIGN PRACTICES

Abstract

The article deals with the issue of applying the principles of constructive geometry in the formative practices of design. The main focus of the study is on the desire to bring scientific foundations to the phenomenon of “geometrization” of the theory of formmaking methods and to characterize it in the context of general scientific trends in the development of geometric knowledge. We are talking about the idea of symmetry, about the attempt to elevate the principle of symmetry to the rank of the fundamental principle of the theory of constructive geometry and the methodology of forming in general. On the example of the works of the Dutch graphic artist Maurits Cornelis Escher (1898–1972) – wooden panels made in the intarsia technique for the city hall of Leiden, the Netherlands. The article analyzes the formative principles of the synthesis of graphics and constructive geometry, including: critical perception of the laws of classical perspective; experiments with non-Euclidean geometry; research and display of the image of infinity, perspective, symmetry; structural and symmetrical transformations; use of optical illusion effects, complex ornamental constructions. The following conclusions are made: 1. Non-Euclidean abstract geometric transformations are an effective technique of formative design practices. 2. Works made on the basis of the synthesis of artistic image and geometry can be not only expressive independent samples, but also integral elements of the design of the subject environment. The purpose of the article is to identify the formative principles of constructive geometry and analyze the peculiarities of their application in design. Methodology: to achieve these goals, the methods of analysis, synthesis, analogy; methods of figurative, stylistic and formal analysis were used. Scientific novelty: for the first time in the system of modern art history research, the idea of symmetry is interpreted not in the classical sense, but from the standpoint of formative design practices, which assigns the concept of symmetry the role of a universal, all-encompassing principle.