348 pages | Hard cover
Format: 31x27,5 см, full color
Typography "Ivan Fedorov" | St. Petersburg, 2006
ISBN 5-85952-016-6
Featureless new buildings that enthralled multiple regional expanses of Russia have turned nowadays to be as common a fact of our unstable life as transportation city inhabitants use daily, or as Hoods of talentless cinema productions poured from abroad which are eagerly consumed by town as well as by countryside, in no less degree, because of the all-penetrating television. Yet, we learn from Home historical chronicles that in former times, architecture as an activity of vital importance ranked as high as cosmic creation, or at least it was comparable with it.
Therefore, constructions, both public and civic, were erected according to the canons of the world structure. Whatever induced ancient builders to seek, find, and follow the norms that clearly enough suggest the anthropogenetic view of nature? Was that an effect of a "childish" human mind, its "naivety", or is there a by far more profound connotation hidden behind mythological veils?

By the late 20th century, the world has intelligibly realized what an efficacious influence information exerts upon the sphere of social relations, and the leading part, if anything of its various kinds, plays human psychics as it did before, being the highest form of migrating communicational signals. What is conducive to the development or suppression of the regulatory processes in a human organism that reflect the degree of consciousness manifested, its orientation towards spiritual, ethic, aesthetic, or "expedient" aims? Is an architectural environment able to affect the dynamics of the consciousness and thus accelerate or retard human vital cycles and human creative ability? In order to investigate the topicality of matters like this, it is useless to hope for any fruitful research into the problem of an architectural surrounding quite separately from general system criteria which are, in fact, the following three basic theses: the principle of symmetry, the principle of reflection, and the principle of complementarity (it is also the principle of addition and congruence, or polarity).

I have succeeded in defining a thesis of THE THIRD SIGNALS SYSTEM as a specifically structured space capable of functioning as a channel that re-transmits flows of biological information, when making use of a nontrivial formal apparatus and comparing methods of different canonic approaches with one another, ancient as well as modern, and analyzing their mathematical groundwork, and bearing in mind a phenomenon of resonance that permeates all the levels of the organization of the matter. An architectural object of the kind can become a stimulating conductor when its commensurable spatial structures are coordinated with the character of human biorhythmical processes. For a biological rhythm is one of the media of manifesting energy in acts of its oscillation, its pulsation by means of frequency impulses responsible for communicating informational factors as well, whose investigation states that the mode of communicational impulses is limited, as a rule, to a range of discrete intervals calibrated by the Golden Section regulations. This natural "instrument" — I call it communicational resonance — is embodied both in the system of chemical elements and in the tempered pitch of a musical gamut, and in the constitution of live organisms, too, including human being.

Architects of all the ancient civilizations who left behind them the brightest masterpieces of architectural genius strictly followed it. And it is no accident. For not only the organization of the human body and harmonious characteristics of its biological rhythms are correlated with the phenomenon of communicational resonance, but many other things as well that are responsible for the dynamic acts occurring in the plane of inorganic systems, too. Therefore, one can hardly doubt that it is owing to communicational resonance that the universal mechanism of the invariant correlation of the natural object dynamics comes to be realized. It is reasonable to state under the circumstances that communicational resonance is a fundamental of Nature. And it is in this connection that the problem of architectural Harmony, as far as I understand, should emphasize its theoretical basis as well as actual building experience in the focus of the Third signal system, i.e. in the vein of communicational resonance. That is why the Golden Section, reflecting the character of biorhythmical processes in a human organism by means of mathematics, must become a dominating regulator, and thus a common tool of architectural creative activities. Only then, will professional architects be able to bring conscientiously architectural surroundings of human habitation to a new turn and beyond burning environmental problems while endowing a society with highly moral architectural milieu that is able to keep humans within the flow of their spiritual aspirations. I suppose, the content and meaning of the Third signal system tend to be especially topical in our ecologically fragile and extremely unstable historical period. While being a Master of the building craft, a gifted architect ought to bear the moral responsibility for the outcomes of his or her activities.