The most important antidotes to such inhumane aesthetics are the memory of the emotional and spiritual well-being of people in the designed and created new environment; the preservation of the art of live creative freehand drawing; the maintenance of classical ideals of beauty, proportion, harmony, integrity, which does not imply the impossibility of developing new architectural forms.
Before outlining an alternative aesthetic in its comparison with parametric and blob aesthetics, let’s turn to the basic principles of architecture.
We encounter architecture as an art that has a direct and most complete communication with space. «Space, not stone, is the material of architecture,» Nikolai Ladovsky formulated for centuries [25, 65-67]. Architecture, of course, acts as a repository for man and his activities [2, 122-123]. At the same time, while forming the space, architecture is revealed externally, and therefore it is an eidetic form, which means it has its own figurative face, image, and, in this sense, it is connected with a sculptural form, as N. Ladovsky convincingly argued: «Although space appears in all forms of art, only architecture makes it possible to read the space correctly. Structure is included in architecture insofar as it defines the concept of space. The basic principle of the designer is to invest a minimum of material and get maximum results. It has nothing to do with art and can only accidentally satisfy the requirements of architecture. Since architecture deals with space, and sculpture deals with form, it is best to design the building as a sculpture from the outside and as architecture from the inside, the thickness of the walls does not matter. With this approach to design, the exterior does not always express the internal content [italics mine Yu.P.]» [25, 67].
A. F. Losev often uses the word «statueness» as a synonym for sculptural art. It sends us back us to the entire ancient Greek statues with their reference qualities of fine proportions, measure, unexalted expression, clarity, balance and harmonious movement. The same features are characteristic of ancient Greek philosophy and architecture. Losev’s thought inherited these qualities of measure, structure, integrity, and mobility from the ancient cosmos. It is these qualities that reveal the architectural form as beautiful and noble.
It can be said that sculpture is an organically inherent quality of many architectural works in their centuries-long development, from the Egyptian pyramids to the modernism of K. Melnikov and A. Aalto. The turn of the 20–21 centuries, marked by the rapid development of computer modeling, was the beginning of a fundamentally new architectural aesthetic.
The followers of modern Western architectural thought are characterized by pedaling the binary scheme of their new look and classical and modernist architectural paradigms, which are now combined into one type. Thus, the philosopher and mathematician of the early 20th century Alfred North Whitehead argued that «Process, not substance, is the fundamental characteristic of reality» [45, 88]. In the semantic field of Aleksei Fyodorovich Losev, such a «clash» of opposites is perceived as a commitment to formal logic that shall be overcome on the path of dialectical logic: One, Being, Becoming… There is no opposition of «what» and «how», but rather their transition into synthesis (Becoming and Having Become). This is a synthesizing thought, not an opposing one; a thought that has the intuition of unitotality as its inner message (Vl. Solovyov) and the higher synthesis of happiness and knowledge (A. Losev).