Architecture as the basis for the synthesis of arts: an analysis of interaction through the prism of the concept of complementarity

Demenev Denis Nikolaevich PhD in Philosophy Associate professor, Department of Architecture and Fine Arts, Nosov Magnitogorsk State Technical University 455000, Russia, Chelyabinsk region, Magnitogorsk, Lenin str., 38, office building denis-demenev@mail.ru Other publications by this author

Introduction.

Currently, the processes of urbanization continue to gain momentum, and the interaction of elements of monumental and decorative art and design with architecture remains one of the most common means of organizing aesthetically expressive urban ensembles (Fig. 1). This interaction in a modern city is a problem that can be described as the organization of the artistic environment of the city. Innovations that are intensively entering the urban environment (new construction and structural systems, visual communication systems, and color and lighting design) displace or complement previous forms of architectural and artistic practice and push architects, artists, designers, planners, and builders to creative ingenuity in integrating "artistic" and non-artistic means in the process of organizing the aesthetic space of the city.. Architecture itself in an urban environment is an interaction of art, science and technology. Architecture forms not only the functional space of the city, but also its aesthetic and semantic field, satisfying both the physical, biological, and mental and spiritual needs of society. The latter becomes possible as a result of the integration and interpenetration of pictorial and non-pictorial elements, paving the way for the creation of both decorative and monumental qualities of the perceived image. Synthesis of Arts as a partnership of architecture and fine art "sets itself the task" of finding forms that most convincingly synthesize the constructive and aesthetic components of both (tectonics, scale, color harmony, proportions, plasticity, rhythm, etc.). However, the synthesis of arts is increasingly interacting with the technosphere today. This is where the corresponding "threats and challenges" (the ability to determine the aesthetic, psychological, intellectual and value disorientation of public consciousness) lie, as well as the broadest prospects for the further development of art synthesis. The epoch itself brings new aesthetic possibilities (an industrial form of art synthesis is being born) for the implementation of new aesthetic norms. In this connection, a reasonable question arises: how, by designing and creating a functional and information-rich environment combined with high artistic and aesthetic qualities, can the technologically developing synthesis of arts be enriched? The second issue, which follows from the first, is related to the activation and development of architectural and artistic thinking as a result of the integration of spiritual and material human activities. All of the above has determined both the relevance of our research related to the generalization of existing experience, the identification of current trends and development prospects, and its purpose: to explore the synthesis of art in architecture through the prism of the concept of complementarity.

Fig. 1. Media Center (Zaryadye Park). Moscow. International Consortium of Architects (Peter Kudryavtsev, Charles Renfro, Mary Margaret Jones, Nadir Abdessemed).

The subject of the research is the phenomenon of synthesis of spatial and plastic arts in architecture. The initial methodological assumption of the research is the position on the fundamental importance of the integrative feature of art. The focus of the research is aimed at identifying and analyzing the integration components of interacting arts with the fundamental role of architecture. The synthesis of arts in architecture is possible on the basis of their complementary qualities, which makes it possible to achieve a measure of monumental gestalt – the combined integrity of a new order with a set of desired properties. Since the artist's activity ^[1] is based on the use of integrative qualities of the arts, leading to the phenomenon of accord, reflective thinking and consciousness seek to use the appropriate form of knowledge organization – the concept of "complementarity" ^[2], in order to identify and disclose specific ways to implement the phenomenon under study.

The analysis of both modern architectural and artistic complexes and ensembles, as well as theoretical research on this topic ^[3-6], suggests that architecture forms the basis for interaction with other types of art in the formation of modern urban spaces. This interaction "allows us to create a new cultural layer that changes the aesthetic qualities of the urbanized environment in accordance with the new needs of society" ^{[7, 8]}. The use of complementary qualities of art in synthesis allows us to obtain the necessary compositional accents that stand out aesthetically in the urban environment (Fig. 2). The study is based on a set of theoretical and empirical methods, including general scientific methods are analysis and synthesis, dialectical approach, method of intellectual speculation, modeling, project method, pedagogical and artistic-creative experience.

Fig. 2. "Airplane". Mural, Magnitogorsk. Markus Genesius and Andreans von Hrzanowski (Germany).

From syncretism to synthesis

Starting with ritual painting, sculpture, and dance of the primitive era, syncretism of art from the beginning of the formation of the first class societies contributed (in a memorial-monumental form) to the further emergence of a "meaningful" synthesis of art. Although places of ritual "architectural and artistic" space have been discovered in Paleolithic art (wall paintings + sculpture (+ alleged ritual rituals)), nevertheless, anthropologists, paleopsychologists, philosophers and a number of other researchers themselves do not identify modern art (here we mean not only the art of the XXI century, but art in general – from the beginning of the historical period: archaic, classical, and postclassic) with the activity of the Paleolithic artist. The stage of understanding the philosophical and applied possibilities of art "as a reflection of a thinking being, no longer a "herd" one, through the language of imagination and "flowing" in line with the philosophical understanding of being as a whole" ^[9], is quite short by historical standards compared to the previous one. It is based on the transformation of the human psyche from an earlier stage of development to a more perfect form [ibid., pp. 168, 171].

As a result of this transformation, the eidetic "T" image evolved into the eidetic "B" image. Visual images of sensation ("T" images (isomorphism and extreme clarity)) They can also be the basis of images of perception, representation, and imagination ("B"-images), which are also not alien to isomorphism to the original and extreme clarity. The latter, as a result of the transformation and complication/enrichment of the human psyche, later become related (or even identical) to isomorphic-non-isomorphic synesthetic images. According to research, synesthesia, "being able to perceive any irritation in any modality of sensations, extends its sphere of influence to language (figurative perception of words, letters, phonemes), which makes it possible to use words in an indirect meaning. The phenomenon of eidetism, on the contrary, functions similarly to the "use of words" in a direct sense. After all, in fact, these are two different ways of establishing a connection between phenomena (in real life, they do not exclude, but complement each other): synesthesia is a kind of "metaphor" with its inherent polysemy, whereas a group of Paleolithic images (or a chain of fangs strung one after another) is, in a certain sense, an analogy. metonymic statements" [ibid., p. 167]. As a result of evolution, the human psyche thus acquired complementarity in the form of synesthesia, and the "metaphorical nature" of the latter served as the basis for the synthesis of the arts in later epochs.

In the lower, early strata of the development of the first states (class societies), "the status of art as one of the most "ancient forms of human activity" is enriched by the status of a "form of practical philosophizing", and art itself is isolated from other practices and transformed into professional aesthetic activity" ^{[10, p. 5]}. It is at this stage that a person begins It is purposeful to integrate different types of art in a single architectural space. However, due to the religious, ideological, geographical and temporal dispersion of examples of art synthesis, their formal heterogeneity should be noted. In Ancient Greece, for example, the approach to synthesis (as well as views on art in general) as for "beauty of a special kind" ^{[11, p. 282]}, they differed from the attitude to this issue in ancient Egypt, where "beauty of the necessary kind" was required [Ibid.].

Thus, two synthesis paths can already be distinguished here.: 1) spiritual (eastern, ancient Egyptian lineage) – the path of a symbol in content or universally semantic, metaphysical; 2) bodily (Western, Mediterranean, Greek lineage) - the path of perfect forms of nature or individually sensual, physical. Kohn-Wiener, in his famous study, talks about three main styles (within which other forms developed): ancient, medieval and modern style ^{[12, p. 214]}. The division into "eastern" and "Western", "physical" and "metaphysical" lines is not fundamental, since throughout the history of the development of the synthesis of arts, they have interpenetrated and complemented each other within a single process based on the principle of complementarity. As an example of complementarity, one can point to the sacred, social, epistemological and other reasons for their genesis, as well as some functions: compensatory (striving for a dream / ideal), ideological (ideological, moral, etc.), and aesthetically transformative. The aesthetic function in art is the most important and all the others are realized under its "wing". It was with her help that "religion in art" was objectified and "art in religion" was embodied in the first class societies.…

According to V. G. Vlasov, the art of the Ancient World (as well as the art of Antiquity and the Middle Ages) is not familiar with the problem of synthesis, because there "archaic syncretism was preserved" ^{[13, p. 827]}. The latter, according to the researcher, was destroyed only during the Italian Renaissance due to the gradual systemic "secularization of art and the separation of functions of architecture, sculpture and painting," in connection with which "the organic integrity began to collapse" [ibid., p. 827] architectural and artistic space. In his opinion, the sacred architectural and artistic space of a temple is always truly synthetic and "is explained by non-artistic spiritual ideas of conciliarity" [ibid., p. 828]. The secularization of art took place in the course of a general turn towards man, his individuality and in line with the idea of anthropocentrism. The ideal was a universal person, a free, comprehensively developed, "titanic" personality. In contrast to the previous religious worldview and worldview, an aesthetic attitude towards the surrounding world is beginning to prevail, the basis of which is considered to be the "inflationary" desire of Renaissance man to know reality (geographical discoveries, scientific activities of scientists, artists, etc.). The latter, according to representatives of the Renaissance, is most fully achieved through human senses, in particular visual perception (which does not contradict the data of modern science, according to which more than 90% of all information entering the brain is received through vision). It is precisely because of the above that there is a flourishing of spatial and plastic art forms - painting, sculpture, architecture, each of which has developed in its own direction. In architecture, the trend of individual creativity of architects (creative component) and civil architecture has become clearer; sculpture in architectural ensembles has acquired an independent meaning (creative component) and got rid of religious and mystical content; painting has been enriched with realistic methodology - linear and airy perspective, the appearance of paintings (creative component) and heroic-civic content in contrast, again- again, a religious and mystical worldview.

The creative component, the departure from the anonymity of artisans (as well as from handicrafts in general), as well as the emergence of new tasks for the arts, stimulated the separation of their functions. Creativity in this situation acted as "social activity on the part of purposeful transformation of the conditions of human existence and development" ^{[14, p. 142]}. By destroying "stable structural connections that contribute to the reproduction of the system of activity" [...], creativity "introduces chaos into the system, so that the activity system is always open" [ibid., p. 142]. Art as creativity is a constant, updated process of transformation, cognition and creation of a new world, where a creative singularity arises "when different systems of activity converge and makes it possible for each activity to overcome completeness, finiteness in space and time" [ibid., p. 143]. However, the creative component combined with the updated content of art, thanks to the openness of the system, simultaneously served in the Renaissance (as, in fact, it still serves today) as the basis for further synthesis of spatial and plastic arts as a conscious unification of disparate elements into a system of relations based on identified objective, that is, ontological grounds. Thus, the original "archaic complementarity" of the arts, through the destruction of previous structural links, evolved in the Renaissance, in our opinion, into a form of new complementarity – "humanistic" and will continue to transform into "technological complementarity" in Modern times. But, as E. Konwiner rightly points out, no style of the epoch "appears catastrophically, each one only gradually develops from the previous one" ^{[12, p. 213]}. The epoch itself creates a single semantic field for the formation of a style in which philosophy, religion, artistic and aesthetic reflection, and social thought are reflected in a specific architectural and artistic space.

Complementarity as a methodological basis for the synthesis of arts in architecture

In order to resolve the emerging methodological and epistemological dilemmas, according to N. Bohr and other researchers, not only physical concepts, phenomena and processes require an additional method of description, but also some problematic areas in chemistry and biology, psychology and sociology, culture and art that require resolution. Of course, the famous scientist here is talking about a methodological and epistemological attitude (a way of perceiving the existing): "The two points of view on the nature of light are rather two different attempts at interpreting experimental material, in which the limitations of classical concepts find mutually complementary expression" ^{[15, p. 32]}.

However, it would be a mistake to think that his approach to solving epistemological (and methodological) issues has not "matured" as a result of observing the real processes and phenomena of life. Only a person who is "engrossed in the city" and has forgotten the last time he looked up at the sky can claim that there is no objective (i.e., ontological) complementarity in nature: "The truth is [...] that in a concrete analysis of specific conditions, we must always connect the "opposites". but the aspects or features that complement each other and are inseparable from each other, which are shown to us by a specific reality" [quoted in: 16, p. 79]. It is obvious that today urbanization is increasingly absorbing and enslaving man. But regardless of a person's desire, there are natural complementarities (sun and moon, day and night, ebb and flow, water and fire, man and woman, etc.) that directly affect both the existing world order and the work of an artist, not only formally (the circle of the red sun complements the green square of the plateau (both in the real landscape and in the one created by the artist)), but also ideologically and meaningfully, as a source of semantic images. Rainbow (the interaction of water and light) – the clearest example of such a source of inspiration for many centuries. In addition, the rainbow phenomenon also served as a kind of "measuring device" – as a methodological tool with which the masters more confidently manipulated the properties of the created works. Despite the fact that the spectrum is continuous (that is, it is an ontological whole – an atmospheric, optical and meteorological phenomenon), in human perception it appears as a decomposition of a single beam of light into separate but complementary colors. In a certain historical period, the spectrum served (and continues to serve today) as a model (mathematical formula) for creating numerous color harmonies (with complementary color pairs) necessary in the artistic practice of painters. All these models of color harmonies were the result of fervent observations of nature, and Newton's color wheel, as well as his wave-particle description of light phenomena in nature, should be considered one of the sources of the idea of complementarity. Thus, N. Bohr's approach as a way of cognition (measurement) of being, although not identical to reality, but, according to a number of researchers, an exclusively conceivable form of knowledge organization, was itself, in our opinion, the result and part of the existence of being (does a person with his thought forms/images live in some kind of in an isolated, vacuum space-time, and his thinking and concepts are not determined by concrete reality?). In modern philosophical discourse, complementarity is understood "not only in its ordinary, everyday sense – as a simple addition of something to something - and not only as Niels Bohr understood it at different times [...], but also as a relatively stable asymmetric (with a possible rhythmic change of dominant) harmony or unity of complementary – opposable, and in particular really opposite, principles, properties or patterns (subconsciousness and consciousness; object and subject, material and ideal – as the "world of things" and the "world of ideas"; freedom and discipline; biological and social, in particular nature–like and culturally-like; religion and science, credulity and criticality and others) ..." ^{[2, pp. 8-9]}. Consequently, we will try to build a further conversation about the synthesis of arts in line with the concept of complementarity and through the prism of dialectical categories, touching upon issues of ontology as well.

The term "synthesis of arts" in its meaning is based on the concept of synthesis as a combination of "heterogeneous qualities, properties, sides and relationships of various objects, as a result of which a new quality arises – integrity, the properties of which are not reducible to the sum of the constituent elements" ^{[13, p. 826]}. Extrapolating the essence of the term "synthesis" to the sphere of art of two (or more) similar, but not identical phenomena within the framework of specific thinking in content and form, we obtain a new unified artistic whole in the terminological shell of the "synthesis of arts." It is about this synthesis of the arts that will be discussed further. The synthesis of arts can be divided into two categories, which can be roughly designated as: 1) an internal synthesis based on the content of the work; 2) an external, formal synthesis, subordinated to a greater extent to the unity of the artistic form. The first category includes space-time, entertainment arts – theater, cinema, circus, etc. Synthesis here is built directly within each type, as a monolithic, indivisible process and a whole (stage performance + design + actor's play). If one component is excluded, the continued existence of the species is not possible. The second type of synthesis is based on the unification of various arts into a single artistic ensemble, with the aim of transforming and enriching the latter with the specific capabilities and features inherent in each of the arts included in it. It traditionally includes various syntheses of literary, musical and visual arts; the most important in which for our research is the synthesis of plastic arts – architecture, sculpture, fine and decorative arts. Despite the fact that a number of researchers ^[17-20] divide the synthesis of arts into the two above–mentioned forms (formal and substantive), this classification, in our opinion, is conditional, since it would be a mistake to think that the synthesis of plastic arts is a mechanical unification of individual arts based on a purely formal correspondence of one to another. Throughout the history of the development of art, the subject of our research was based on the real processes of human life (social and historical events, ideals, work, etc.), therefore, the ideological and substantive component formed an artistic whole on an equal footing with the formal one and set a new quality in relation to each art included in it. Of course, both form and idea (in their pure form) are opposites. However, in the context of our research, the futility of extreme opposition of all these culturally and historically conditioned and still often extremely opposed positions in understanding the essence of the synthesis of arts is quite obvious. Developing and sublimating Bohr's thoughts on the principle of complementarity, V. A. Fok writes: "... those properties that manifest themselves in their pure form only under mutually exclusive conditions can be called complementary ... It makes no sense to consider the simultaneous manifestation of additional properties (in their pure form)" ^{[21, p. 14]} Therefore, the integrative one is much more important. an understanding of the synthesis of art, which presupposes the presence of some invariant informational and aesthetic core, allowing for a well-known, well-founded variability, its formal and meaningful polymorphism. The idea and the form, being complementary to each other, constitute this informational and aesthetic core.

...According to V. G. Vlasov, "synthesis of arts" is most often referred to as "interaction in a single artistic space-time [...], and not synthesis, since within the boundaries of a certain ensemble, works of autonomous art interact, each of which obeys its own laws of the artist's compositional thinking" ^{[13, p. 826]}. Anyway, the syncretism of functions, the interaction of individual species within a single continuum ensemble, and art itself can have an impact on the viewer. As a result of its evolution, "art " has come "a long way from the psychophysiology of the primitive world to the practical philosophizing and reflection of the agrarian-industrial eras" ^[9], as a result of which it has become able to purposefully influence the consciousness of society. The mediator in this complex process, hidden from most people's eyes, is the phenomenon of aesthetics, the objective basis of which are the universal and fundamental laws of existence, manifested in the relationship of measure, harmony, integrity, expediency, etc., – "mathematics of forms of nature" ^{[10, p. 109]}, and knowledge of the world acquires in this case It is no less objective than in science and philosophy – through the harmonious correlation of logical connections and relationships with the connections and relationships of the real world, as a harmony of complementary natural and cultural principles. The concrete, sensual, visual form of these harmonious connections and relationships in the objective world "generates a peculiar resonance in the soul of a person who is himself a particle of this world, and therefore also participates in the general harmony of the universe" ^{[22, p. 517]}. Consequently, the logical and mathematical sphere also becomes an intermediary between the world of reflection and the world of reality, and knowledge in art (and through art) is possible in a similar way to knowledge in general as a result of the fact that "the categories of knowledge are identical to the categories of being" ^{[23, p. 351]}.

An architect, designer, or engineer, when developing a particular project, uses qualitative and quantitative characteristics of the future object. By operating on them, he lays down/assumes a certain measure of these characteristics. Already at the design stage, he thinks in one way or another in correlated polar concepts, thought forms: part-whole, quality-quantity, unit-total, finite-infinite, etc. By quantity, Aristotle meant "a multitude if it is quantifiable", and magnitude "if measurable" ^{[24, p. 164]}. And K. Marx, describing qualitative and quantitative interaction, reveals, in our opinion, a peculiar "formula" for the synthesis of arts: "... Various things become quantitatively comparable only after how they are reduced to the same unity. [...] Only as expressions of the same unity are they eponymous, and therefore commensurate quantities" ^{[25, pp. 58-59]}. The unity and commensurability of quantitative quantities in synthesis – the quantitative interval/range of means of each art – makes it possible to achieve a dialectical unity of quality and quantity, that is, the measure of a monumental gestalt. The monumental gestalt here means not just a monumental image (since the latter can be inherent in small-scale easel art (both three-dimensional sculpture and two-dimensional paintings), and also not always have synesthetic transferences)), but also spatially visual, temporal, acoustic, tactile and other synesthetic forms of perceived that is, a monumental image, "enriched with synesthesia." Nevertheless, for the sake of simplicity of further presentation, it is permissible to limit ourselves to the concept of a monumental image. As a result, the completed form of the architectural and artistic space presupposes its qualitative certainty, with a set of desired properties. These sought-after properties are the phenomenon of accord.

Analyzing the synthesis of the arts through the prism of the concept of complementarity, the next most important point for our research is the position that the interaction of the arts presupposes "a holistic but harmonious perception of the arts existing independently in a single (architectonic) space. Each type of art retains its own ways, means and techniques of representation in such interaction" ^{[13, p. 827]}. Accord arises as a result of a purposeful synthesis of the opposite qualities of art: sculpture is embraced by space, while architecture accommodates (embraces) It's a space. Painting, like sculpture, is encompassed by space, but it does not have the real volume of sculpture, and it does not contain the same real volume of architecture. The purposefulness of the synthesis presupposes the initial collision of their opposite qualities and the creation of a complex, lively and mobile relationship between them – a dialectical contradiction that must be resolved by finding a common measure of their interaction. Thus, the three–dimensional space of architecture and the plane of frescoes (stained glass, mosaics) in their pure form (each separately) are opposites, which, at the same time, with the purposeful organization of visual energy in the direction desired by the artist, will form complementarity as a harmony of opposing principles.

Developing Engels' idea that in the dialectic of relations of such opposites as chance and necessity, the former is a complement to the latter [cit. according to: 16, p. 15] and extrapolating it to the synthesis of the arts, it can be assumed that humanity once "received" the effect of the chord sound of the arts by chance. However, even today, accordion as a complementary sound of the arts is an effect that is difficult to achieve and not inherent in every synthesis, requiring special knowledge, skills and abilities. The phenomenon of accord appears, on the one hand, as the result of self–movement and the resolution of contradictions between necessary and accidental, and, on the other hand, as the result of a creative plan that determines the progressive development of the entire artistic process. Development as a movement towards improvement (transformation) and self-improvement of the entire system is the movement of cognition into the depths of an object, when its essence is revealed ^{[26, p. 409]} and the possibility of random fragments becoming necessary opens up ^[27], as a result of which the synthesis conceived by the author moves from bifurcation situations (with significantly different possible "trajectories" subsequent states) – to the attractor– the cone of attraction of all optimal means to achieve a perfect (ideal) result, contributing to the transformation of reality.

It is believed that the entire architectural and artistic continuum is subordinated to the "central axis" of synthesis - human proportions. This axis within the synthesis of arts is a system-forming one for both painting and sculpture, and "based on the fact that the human body is a standard, the size ratios of its body parts are used as fundamental in the design of architectural structures. Such an approach is a clear evidence of the humanistic views of a particular time" ^{[11, p. 277]}. The system of proportionation itself is a kind of correlate of the general patterns of shaping in the visual arts and forms the architectonics of each individual type. Because of this, architecture is the leading ("city-forming") art form in ensemble thinking and being, where the "mathematics" of the forms of nature is more pronounced through refraction in the artist's work. In other words, the synthesis of arts is a borderline area of activity and knowledge, organically combining mathematical patterns and artistic creativity. However, once the rules are found, they cannot satisfy all artists and architects from different cultures and eras: the phenomenology of reality is changing, and the life of society is changing. At the same time, ideals and art are changing; the system of proportionation, the "foundation" of art synthesis, is also changing. Nevertheless, at each historical stage, the new system of proportionation did not "adjust" the image of a person to a certain rigid scheme. She made the person himself the measure of a work of art" [ibid., p. 278], thereby creating the appropriate architecture: Luxor Temple of Amenhotep (and the brothers architects Souti and Hori), the Parthenon of Iktin and Kallikrates, the Sistine Chapel of B. Pontelli and J. de Dolci, Le Corbusier's "Modulor" in architecture, etc.

Architecture is located at the junction of several types of knowledge: technical, mathematical, artistic, philosophical, etc. (at the junction of polar physical and spiritual knowledge), forming a kind of ontological and epistemological unity. Thus, the construction of the temple of Zeus Genarchus in Artesian was carried out, for example, "under the guidance of a royal architect with knowledge of all subjects, including astronomy, to perform such tasks" ^{[28, p. 154]}. This very unity of knowledge is, among other things, a consequence of the constant improvement of human visual activity, as one of the oldest ways of mastering reality. Based on the practical experience of mankind, as well as the coexistence, interdependence and mutual development of integrative and differential tendencies between each of the above types of knowledge, "geometric patterns connecting the image and its prototype" have been identified. The image constructed on the basis of these patterns accurately conveyed the shape of the image, eventually becoming not only a visual, but also a geometric model of the object" ^{[29, p. 8]}. While the geometric patterns of the oldest images "are mainly limited to similarity and congruence, which determine the undistorted reproduction of the shape of an object" [ibid., p. 19], the geometric understanding of perspective images of later periods led to the creation of perspective theory and allowed working with "distorted" images. Among them are Euclid's "Optics" and "Catoptrics" and, later, Vitruvius' treatise "Ten Books on Architecture". In the Renaissance, after the Medieval "stagnation" and in connection with the widespread growth of production, as well as the rapid development of the spatial and plastic triad of architecture, sculpture and painting, L.B. Alberti, Leonardo da Vinci, A. Durer, G. Ubaldi continued the development of pictorial and architectural perspectives. Thus, since ancient times, images have played an important role in recording information in general, and since Antiquity, philosophical, scientific, and mathematical research has already paved the way for constructions in architectural drawings and fine art, and the synthesis of arts based on architecture.

Architectural and artistic thinking as a result of the integration of spiritual and material human activities

Today, education and training constitute one of the most important parts of the global "mechanism" of mastering reality. Since architectural and artistic spaces are an effective means of forming the aesthetic consciousness of society, contributing to cultural progress, it is relevant to implement the knowledge, value and methodological resources of aesthetic and projective cycle disciplines in the development of integrated thinking in the training of specialists in architectural and artistic fields. The scientific community is increasingly focused on the applied nature of the acquired knowledge, looking for ways to further develop the integration of knowledge and processes. The seemingly outdated and long-studied artifacts of art history, which are in demand again, for example, both to clarify the chronology of historical events and to increase knowledge in general, contribute to filling the lack of information in any field of knowledge. Modern knowledge integration, therefore, can be defined as a kind of interaction of information, the synthesis of which generates new knowledge.

One of these ways is the development of architectural and artistic, integrated thinking. For many centuries, the role of education in this matter has been decisive and indisputable. The great masters of the past and present have gone through and are going through a difficult path in comprehending the secrets of artistic and ensemble thinking, studying the experience of their predecessors and introducing something new of their own into the common "piggy bank" of the world architectural and artistic space. Time, history, and education become the central dimensions of the above-mentioned empiricism. The phenomenon of art synthesis as a core/locomotive for the development of integrated knowledge, thinking, and experience can contribute to this under certain conditions. What are these conditions? The acquisition of architectural and artistic competencies is unthinkable without a comprehensive and systematic interaction of aesthetic and projective disciplines: teaching philosophy, art history, descriptive geometry, design activities, engineering graphics and fine arts in higher education should be based on the methodology of complementarity. As well as the formation of practical experience in this field today, "it should be based on the fundamental principles of modern image theory" ^{[29, p. 3]} and the possibilities of technical means of processing, fixing and processing verbal and non-verbal information. The information and digital and technological age has many advantages in this, in particular, in the speed and visual visualization of the logic of the process of any scientific research to reveal and reflect historical, artistic and other processes and phenomena of reality. However, neither AI nor various "graphic editors" and "vector programs" will be able to replace and absolutely make up for the lack of some of the most important points: the ability to think dialectically and reflect, abstract, creatively and independently approach the solution of the intended goal. Of course, one does not interfere with the other at all, but only enriches each other, but it seems that without the latter, the former will be useless.

The basis of integrated architectural and artistic thinking should be ideological-conceptual and subject-practical dialectical thinking aimed "at developing education, conscious self-regulation and self-education" ^{[2, p. 4]}. The generation of ideas (products of the spirit) must be complemented by a conceptual understanding of the logic of the development of world history. Logic and intuition, collecting facts and the ability to relate them to the world process, the ability to see the general through the particular – all this is potentially "given" by "philosophy" and "art history". Everything listed here "potentially" provides the study of not only art history and philosophy, but also many other disciplines. The problem of real and potential acquisition of knowledge should be solved, in our opinion, in accordance with the principle of harmony, "coercion", discipline and freedom [...] But the dominance of independence and freedom of activity is a necessary condition for creativity and the education of the ability to think dialectically ..." [ibid., p. 3]. Developing ideological and conceptual thinking, it is impossible not to pay due attention to the development of the subject–practical component, formed through the development of the so-called "special disciplines" ("drawing", "three-dimensional composition", "architectural design", etc.). In the context of our research, "drawing" should be recognized as the first among them, the initial and starting point, methodologically (systematically) linking the entire educational process in architectural and artistic specialties, because it participates at "certain stages in the sketching of various works (fresco, bas-relief, tapestry, architectural project)" ^{[30, p. 190]}. The harmonious connection of individual parts of a human figure, the unity of individual parts in architecture, the semantic grouping of people, the interrelation of arts in an ensemble – in all this, an important role belongs to the "three-dimensional composition" in combination with drawing (when developing clausures, when drawing, for example, related to the design of ensembles, primarily compositionally decides the ensemble as a whole whereas the detail must be worked out in the interests of the whole). Thus, the disciplines of the aesthetic and projective cycle make it possible to form integrated thinking in which the value, knowledge and methodological components (due to their subjects of study) are fused together and which can contribute to the aestheticization of the architectural and spatial environment of modern cities.

This article is a generalization of previous results of theoretical and practical work in this area. The theoretical significance of the research is determined by the new needs of the modern individual in the conditions of technological and digital reality, the need to pay attention to the value-knowledge and methodological resource of the disciplines of the aesthetic and projective cycle as an integrated way of understanding the existence of a modern person in modern conditions. At one time, the author developed and published a number of educational, methodological and scientific works on this topic for classroom and extracurricular work with students in the study of the disciplines of projective and aesthetic cycles ("Fundamentals of monumental and decorative painting", "Project activity", "Professional means of presenting a project", etc.) ^{[31, 32]}. The practical significance of the results of this and previous studies lies in the generalization of the methodology of "integrated thinking" and its empirical testing during the monumental painting of the Holy Trinity Church in Magnitogorsk (Fig. 3), which gives it a certain methodological resource in the creation of architectural and artistic projects and their implementation.

3. Painting in the Holy Trinity Church in Magnitogorsk (corners of the ceiling, altar area).

Of course, this and a number of other works do not claim to be a full-fledged synthesis of high-artistic art. However, together they form an integral system and represent an empirical approbation of the methodology of "integrated thinking" and the substantiation of the author's vision of the synthesis of arts. Within the framework of the set goals and objectives of the projects, the interaction of painting and architecture was realized, one way or another exerting a multifaceted, emotionally intense, aesthetically meaningful impact on a person and forming a positive attitude towards the surrounding space. The essence of complementarity as a methodological and epistemological way of mastering the world by man, operating both in science and beyond, involves the integration of at least two different discourses. Therefore, the synthesis of arts presupposes the presence of at least two components. However, it is the richest and most "polyphonic" – polyphonic – when synthesizing three components (a larger number is also possible, but there is a threat of excessive "polyphony"), (scheme 1).

Scheme 1. A model of art synthesis based on the example of the synthesis of primary colors in painting.

This structural model has a "paradigm-setting" character and is generally represented as a hierarchically organized "triangle", the bases of which represent painting (blue) and sculpture (yellow), respectively, and the top of the triangle represents architecture (red). The connections between the bases and the top are "subordinationally coordinated" in nature. The interaction of the top with the bases leads to the appearance of additional qualities of art, which is similar to the formation of additional colors in painting as a result of mixing the main ones. The unity and commensurability of quantitative quantities in synthesis – the quantitative interval/range of means of each art (colors in the scheme) – allows, as we already wrote in the second paragraph, to achieve a dialectical unity of quality and quantity in creating a monumental image. The entire perimeter of this triangle is a combined integrity of a new order with a set of desired properties (accordion of the ensemble), which is a "visually abstracted" example of the essence of art synthesis. Architecture is the basis of this synthesis.

The aesthetic function of art synthesis is the most important, but at the same time, it has practical significance depending on certain tasks pursued by the organization of architectural and artistic space. One of these tasks, which is the most urgent today, is the production of meaning, because in the modern world, according to Viktor Frankl, "existential frustration", or "an unquenchable desire for meaning", poses an increasing danger ^[33]. In order to read an image (a drawing of a temple, for example), you need to have special knowledge. However, it has been established that "conscious ignorance is not a necessary and sufficient condition that encourages a person to learn" ^[34], and learning (overcoming ignorance) and mastering a convention ^[35] is "not the creation of a new meaning" ^[34], as it is not its understanding. To understand/ realize the value and purpose of the architectural and artistic space of a temple through the knowledge of a drawing for it may, of course, not be set by the subject of knowledge as the ultimate goal. Nevertheless, the creation of an architectural and artistic space obliges a person to create a kind of semantic center/field in which the recipient's perception of a new meaning is "initiated by a conscious misunderstanding of the subject, a desire to leave the space of misunderstanding" [...], "when complementarity acts in consciousness", which, in turn, "is the basis for interpretation complementarity as a form of understanding rooted in human dimension" ^[34].

The ways of mutual integration of art and modern technology "lay" through Modern and Modern times. If earlier integration within a single synthesis meant the interaction of more related phenomena (integration of art forms) and technologies in order to create a single ensemble (architecture, sculpture, painting), today art synthesis is increasingly implemented through modern technical devices: projectors, computer programs, airbrushes (wall paintings), 3D printers (printing sculptures, baguettes, ornaments, etc.), quadrocopters (building facade paintings), plasma screens, laser pointers and levels, etc. ^[36], (Fig. 4). Thus, digital and technological complementarity is added to the complementarity rooted in the human dimension. Of course, we are not talking about highly artistic syntheses, the so-called high styles (their time is over, but the new has not yet become), but various forms of "incomplete" integrations exist (the same murals made using quadrocopters). The possibilities of technical means of processing, recording, delivering and processing verbal and non-verbal information, the information–digital and technological era as a whole have many advantages in this, in particular, in the speed and visual visualization of the logic of the process of any scientific research, to reveal and reflect historical, artistic and other processes and phenomena of reality. It is precisely this integration, the synthetic unity of art (art studies, philosophy, religion) and technology (natural sciences, technical knowledge) that belongs to the future.

Fig. 4. Alexey Luka, Misha Most, Eric Bulatov. A mural in the Industrial Street Art Park of the Vyksa OMK plant.

Thus, it is necessary to record the important fact for our research that modern technologies are increasingly involved in the act of incrementing forms of complementarity in architectural and artistic construction, potentially contributing to the production and perception of new meanings. The digital and technological age turns out to be an additional factor contributing to the preservation and multiplication of architectural and artistic spaces and corresponding semantic images, and the "technological" complementarity itself (along with the classical - "humanistic") also has artistic potential and a methodological resource in transforming reality according to the laws of beauty. However, the acquisition of architectural and artistic competencies is unthinkable without a comprehensive and systematic interaction of educational disciplines of the aesthetic and projective cycle. In addition, neither AI nor various "graphic editors" and "vector programs" will be able to replace and absolutely make up for the lack of some of the most important points: the ability to think dialectically and reflect, abstract, creatively and independently approach the solution of the intended goal. Of course, one does not interfere with the other at all, but only enriches each other, but it seems that without the latter, the former will be useless.

Conclusion

The question of the synthesis of art in the modern urban environment is not closed. In this article, it has only been outlined in basic terms and requires further study. In the course of the research, a generalization was made that architectural and artistic space throughout the history of the development of human civilization has been and continues to be one of the main means of aesthetic transformation of reality and cultural progress, influencing the aesthetic consciousness of society.

As a result of the analysis of the synthesis of arts through the prism of dialectical opposites: form-content, part-whole, quality-quantity, necessary-random, the fundamental importance of the integrative feature of art is substantiated.

In the course of the study, it was found that the synthesis of arts in architecture is possible on the basis of their complementary qualities, which makes it possible to achieve the effect of ensemble accord – the combined integrity of a new order with a set of desired properties. A generalization is made that architecture is the basis of this synthesis.

It is revealed that the synthesis of arts is both a purely human ability to recognize, understand and interpret meanings, and an activity to create them.

The integration of the classical synthesis of arts with the technosphere is now becoming a necessary step in the process of transformation/evolution of our research subject as a result of the emergence of new tasks and the development of appropriate tools.