Quasi-architecture as a reality of modern times

. The newest architecture as an information carrier takes on fresh forms. It reflects the flow of information, fits into the environment, and interacts with the external and internal space. As a result, a new boundary area of architectural activity emerges – «quasi-architecture», which is located between architecture and art, architecture and construction, architecture and multimedia space. The purpose of the study is to consider the features of quasi-architecture and the principles of its organization. The main methods of research are logical, complex system-structural and system approaches, which allow studying this phenomenon in the aggregate and the interaction of its individual parts and classifying the features of its development. The dialectical method that includes analysis and synthesis, made it possible to identify the quasi-architecture mainstream’s patterns. The historical-genetic method showed the origins of conceptual trends. The result of the study characterizes the conceptual directions of one mainstream of the newest architecture – «quasi-architecture». Quasi-architecture reflects the imaginary space; it seems to exist and not exist, being on the verge of reality and unreality.


Introduction
The search for a new space model of the latest architecture inevitably leads to the search for its new image.Quasi-architecture covers not so much the architectural forms as the possibility or probability of their development and transformation.At present, architectural and spatial research is actively conducted in the field of modeling a multidimensional, changeable, illusory and metaphorical architectural object.Silvetti [1], Eyuce [2], Ozgan Yazgan, and Akalin [3], Ivanova [4], Dutsev [5], Vytuleva [6], etc analyzed the hidden and changing meanings of architecture, metaphors and illusions in architectural morphogenesis.Technologies of digital algorithms make it possible to use self-forming and self-transforming matter, which begins to exist in its own digital quasi-space.Thus, quasi-architecture is characterized by the absence of material forms; flickering uncertainty of the appearance of an architectural object; transparency and permeability of borders, creating a feeling of instability and immateriality (ephemeral).At the same time, the urban environment is perceived as a dynamic dialogue space.
It can represent architectural space as a combination of real and artistic space, and it is the last reveals the internal integrity, completeness and aesthetic nature of an architectural work.In different periods, many researchers dealt with the problems of artistic space.O. Spengler designated depth, integrity and universality; J. Ortego y Gasset discovered surreal space of images, subjective sensations and ideas; M. Heidegger emphasized the autonomy of artistic space.He represented its essence in the form of a filled void, as a system and interaction of places -«the play of places»; P. A. Florensky studied the symbolic, transcendent nature of the artistic space, reflecting the culture of his era; M. M. Bakhtin explored the artistically assimilated connection of temporal and spatial relationships.Kazimir Malevich interpreted artistic space as an imaginary, conceptual space of speculative images, that was inhabited by abstract ideal forms, possessing the qualities of infinity and ambivalence.In the XX century, "artistic space, becoming the subject of abstract art, turns into a quasi-space ... -an imaginary, speculative space that exists on the verge of reality and unreality" [7, p. 186].Gershkovich considered a work of art and distinguished two forms of its existence -objective and quasi-objective.An object is real and material, and a quasi-object reflects a people' spiritual experience and their idea of this object.Therefore, "quasi-objective reality is not what exists, but something that is imagined, it is not the true, but something that is illusory" [8, p. 58].However, the real world can be understood only through the medium of imaginary reality.Based on the foregoing, it is possible to say that "quasi-architecture" is an imaginary, illusory image of architecture unfolding in quasi-space.The purpose of the study: to identify and consider the main directions of this architectural mainstream.

Methods
The systems approach has several objectives.Firstly, it is aimed at studying the object as a whole and as a system of relationships between its elements.Secondly, the system approach reveals the links between the elements of the object, and finally, it describes the object from the perspective in which it represents the system.
The philosophy of the plane that illustrates the multidimensionality of being and the philosophy of conditional (conceptual) space constitute the theoretical basis of "quasi-space", which is characterized by "lack of extension, spatial correlation between objects and an associative path of deployment" [9, p. 17]."Quasi-space" is the primordial, deep essence of the architectural system.Under the architectural system, we mean a set of many interrelated and subordinate elements that form a single whole, characterized by the integrity and differentiation of elements, the correlation and interaction of various elements of the system, as well as their validity.Quasi-space, in this case, is an experimental platform on which new creative methods are developed and tested that affect the organization of the forms of activity and thinking of the architect.Virtual architecture provided a wide range of instrumental possibilities and provided visualization of the master's thinking process, demonstrating the direction of creative intention -characteristic language and compositional techniques, the choice of certain forms and means of expression.
Quasi-space is a synthesis of all stylistic trends in architecture of the 21st century, which were not formed into a style or a finished architectural object, but remain a manifesto, a creative representation, or an advertisement for a new product.The value of the creative method lies in its indirect influence on the restructuring of the consciousness and methodology of the architect.Thus, the quasi-space is a kind of professional laboratory for the development of innovative theories of the architecture ontology.The mainstream "quasi-architecture" is not self-sufficient, it is rather a creative intention, focused on the search for hidden structural units of an architectural object.In the variety of innovative searches for space models in the latest architecture, three completely formed spatial concepts can be distinguished (Table 1).

Affective space
Philosophy of "empty" space turbulent, restless, ever-changing space Electronic baroque Philosophy of the plane -"shells" (bodily) -the border between external and internal space The space of the plane, the bodily space in which the dematerialization of the "shell" takes place Virtual architecture Philosophy of virtual space of "immaterial architecture" The space created in the language of computer code (virtual reality) is the "architect's kitchen " The historical-genetic method made it possible to identify the origins and prerequisites for the emergence and development of these conceptual directions.
1) Affective space.The problem of emptiness occupied a central place in the philosophy of Eastern creeds: Buddhism (the primary element of "everything that exists"), Vedism (illusoriness, the appearance of the world), Taoism (infinite perspective, the beginning of everything), Zen (the border of the real and the unreal).The main forms of the validity of emptiness are -the infinite divisibility of objects; relativity and variability; necessity (a house, a jug, etc. must be hollow to use it) [10].The concept of emptiness and simplicity was implemented in traditional Japanese architecture and became the theoretical basis for the architecture of metabolism.In Western architecture, imaginary, illusory and spatial disorientation in Western architecture was realized through the structure of the labyrinth -a complex, intricate layout of numerous spaces of different scales, connected by many passages, alternating halls and courtyards (Cretan Palace, medieval castles Lacoste, Vincennes, Bastille, Doge's Palace in Venice, the ducal palace in Mantua, etc.).Infinitely extended space is conveyed by almost cinematic means -a set of elements (a suite of halls, rooms, corridors, halls, etc.) and rhythm, the nature of movement through space.A single scenario, according to which the functional purpose of various spaces in modernism was built, is replaced by the simultaneous deployment and playback of an innumerable set of such scenarios in the same space.French architectural critic and philosopher Virilio in the early 90s.heralded the beginning of an era of "cinematic fakes and illusions, in which architecture is like a film" [11].
2) Electronic baroque.Baroque is a name for cultural epoch in XVII-XVIII centuries.This term has many meanings in translation from Italian -a method of sophistry, form of logic, a false syllogism based on a metaphor, etc.Based on the context, it could be interpreted as pretentiousness, elitism, unnaturalness, grotesqueness, deformity, etc.The falsity of baroque syllogisms was hidden behind its metaphorical nature.Paradoxicality, whimsical pretentiousness, catchy theatricality and pathos inherent in baroque aesthetics were created using the effect of a mirror, false perspective, allegory, allusion, curvature of space, etc.The means and techniques of the Baroque in architecture are the emphasized dynamics of masses and spaces; alternation of curved and broken planes and lines; contrast expression of deliberately complicated forms; rich plastic.The idea of movement and the intense drama of spaces, characteristic of the spirit of the Baroque, found an elegant embodiment in the forms of architecture.In the architectural aesthetics of the 21st century, the essence of the Baroque spirit is reborn again -the art of immaterial, illusory and symbolic.It illustrates the transformation of corporeality into incorporeality, reality into illusory.Ambivalence is still the main feature of the electronic baroque, erasing the boundaries between the materiality of the object and the mirage.Gilles Deleuze substantiated the philosophy of the plane, relying on the category of immanence -being inside.Pure immanence is a pure plane, an infinite multidimensional space."An object is not simply within a larger system, but folds from that very same system, functioning and operating consistently upon it, with it and through it, immanently mapping its environment, discovering its own dynamic powers and kinetic relations, as well as the relative limits of those powers and relations."[12, p. 27].
3) Virtual architecture.Virtuality is translated from Latin as imaginary or visionary.But it is worth noting that the imaginary will not necessarily be visionary.The imaginary space coexists on the border of the real one and completely manifests itself in the space of a dream.An imaginary space is formed under the influence of people's impressions as a kind of idealized representation.The concept of "virtuality" with its different interpretations was used in philosophy (Cuzansky, Aquinas, Scott, and others) and physics (D'Alembert, J. L. Lagrange, I. Bernoulli, and others) (Table .2).

Table 2. Interpretation of the concept of "virtuality" in science "Virtuality" in philosophy
An unreality that is antagonistic to physical space and has the informational equivalent of a thing.Each event is virtual, because it contains information that affects our imagination."Virtuality" in physics A real effect or entity that is not a fact but actually exists.

"Virtuality" in computer science
The meaning of the term is the same as in physics -for example, a virtual network does not exist in real space, but has a direct impact on the real world.
In the early 90s, there was a surge of interest in the problems of virtual reality.Hammit analyzes the conditions for the formation and development of this phenomenon, and considers the possibilities of virtual reality in the film industry.Spiller and Pierce discussed the philosophical aspects of architecture and virtual reality.Many architectural theorists and practitioners such as Massumi, Kash, Verilio, Novak, and others are involved in this area of research.Virtual reality is an interactive space in which three-dimensional objects are modeled, similar to imaginary or real ones.They imitate the physical properties of objects (speed, movement, volume, etc.) and the ability to influence and independently be present in space.Virtual architecture is a new way to exist for an architectural concept (project).Virtual architecture, becoming visual, affects the architect and allows him to transfer it into reality.

Results
The conducted research revealed the main properties and techniques of the conceptual directions of the "quasi-architecture" mainstream.In this work, the period from the beginning of the 21st century will be conditionally called panmodernism.Since scientists have not yet come to a consensus on how to determine the ongoing cultural processes and have not accepted the generally accepted terminology for their designation.Some researchers (Z.Bauman, E. Giddens, Ch.Jencks) think that this is "modernism".In their understanding, the modernism of the XXI century is going through a new stage of formation.Other researchers (J.Baudrillard, B. Latour, V. Prix) call the current period a continuation of postmodernism, which forms the architectural language of self-organizing systems based on new digital aesthetics, or the stage of post-postmodernism.In it, the qualitative criteria of the architectural environment, virtuality, and hyperreality come to the fore.A. Kirby calls the period pseudomodernism, T. Vermeulen, and R. van der Akkermetamodernism.
The term "panmodernism" (universal modernism) has the criterion of universality, integrates the innovative enthusiasm of modernism with postmodernist allusion and irony, and blurs the boundaries of reality and unreality.Quasiarchitecture is only one of the many mainstreams, metaconcepts, and concepts of panmodernism.
Space modeling is the basis of the architect's creative activity.His ideal is a multifaceted space with infinite depth and an endless kaleidoscope of images.The most significant achievement of the architecture of panmodernism is the affective space, which is structured by feelings and emotions and is in constant agitation.Thus, the concept of "affective space" is a creative method of designing an architectural object based on the saturation of space with various probabilities of events unfolding -creating the illusion of a simultaneous deployment, playing many different scenarios in one place.The dynamic expression of the perception of the flow of images caused a constant conflict, intensity, and tension in space, its excitement, movement, and restlessness (Table 3).A spectacular image is formed by the space, which, as it were, flows through a motionless person Space modeling The classical principle was the vertical and horizontal organization of space Modeling occurs with the help of a stream of images that flow into the brain of a "lazy" recipient If in the concept of "affective space," the images are created and drawn by the space itself, then in the concept of "electronic baroque," the images are modeled on the plane and give it spatiality and depth.Electronic baroque first of all changes the building facade, depriving it of clear external boundaries.Such a facade merges or contrasts with the surroundings.The electronic baroque architecture, on the one hand, is a shell structure consisting of a set of LED screen modules, modern smart technologies, and power and cooling systems connected to control systems.It creates an active relationship between the external and internal space and has the properties of reflecting information flows.On the other hand, the electronic baroque, like any architecture, creates a material and spatial environment for the implementation of various processes and types of human activity.
Electronic baroque is a method of creating an image with the help of information technology, which can exist both in real and virtual space.The main features of the electronic baroque architecture are 1) the immateriality of abstract geometric forms; 2) disorderly-chaotic movement on the surface-shell, leading to the deconstruction of the form; 3) atektonichnost and illusory.The difference in the interpretation of the meanings of categories in classical architecture, the architecture of modernism, and panmodernism (electronic baroque) is given in Table 4.

Category
Classical architecture and modernist architecture

Electronic baroque
The Image Unambiguity (that is, a person must think of an architectural image himself, combining various details, symbols into a single whole) Polysemy (a lot of ready-made images -the facade is constantly changing, creating a continuous modification of the body, the plane of the facade) The value of architectural form Constancy -an architectural form affects with its grandeur, power, colossal height, etc.
Variability -an architectural form can simultaneously create either a heavy or a light image, change the configuration Relation to the plane Two-dimensional -has a length and width The three-dimensionality of the plane -a new space of corporeality arises, i.e. the plane has its own space Architectural space Emptiness -internal and external environment Emptiness + space of physicality and surface At present, "the architect has to reckon with the phenomenon of fusion of the real and virtual worlds" [13, p. 43].Virtual reality creates a new metaphorical and multi-level environment, in the ideal space of which virtual architecture exists.For this purpose, various software, algorithmic, parametric, animation and other methods are used.In the digital space of virtual reality, a creative search is carried out for conceptual models of organizing various kinds of spaces (temporal, topological, cultural, locus, etc.), which affects the imagination of the architect.Found ideas of spatial solutions materialize in real space.For example, from the properties of topology, B. Massumi derives a formula that an architectural form is a process that caused the appearance of curvilinear, fluid, non-linear and fractal architecture (Table 5).

Real space Virtual space
Aesthetics is the study of the essence and forms of beauty.Eternal principles of "beauty" and "ideals" of the past The aesthetics of the gap is always in a state of formation and change, responding to a changing situation.The new nature of aesthetic perception Architecture is a combination of individual structural elements -walls, ceilings, openings, columns, etc.

Architecture -dynamic, changing, multidimensional, temporal-spatial formations
Virtual discoveries help to change the attitude towards architecture solely as a set of necessary structural elements; they allow one to see the hidden, deep layers of architecture -the conceptual content, metaphorical imagery, etc. Interactive virtual works have new artistic imagery, illustrating modeling architectural forms.The phenomenon of hyperreality, where the distinction between the real and the imaginary is erased, penetrates the space of modern cities.According to J. Baudrillard the entire modern world is virtual and its architecture is virtual too (Table 6).Table 6.The architecture of postmodernism and ponmodernism according to J. Baudrillard

Postmodern architecture
Panmodern architecture plays with visible and invisible sides of an object, with weight and center of gravity becomes a mere reflection of the visible develops a symbolic form loses its mystery acts as the "natural mind" of the city's space turns into a "screen" architecture, devoid of spiritual space, which it replaces with digital J. Baudrillard considers the Guggenheim Museum in Bilbao by architect F. Gehry an ideal example of virtual architecture.First, the museum is created based on a combination of combinable modules and elements that can be used to create many similar structures with different software and data processing rules.Second, the content of the museum -exhibits of collections and art objects -is virtual [14, p. 26].M. V. Dutsev also talks about the "further virtualization of architecture, the deprivation of the materiality and clarity of the spatial organization of objects.Architecture is increasingly gravitating toward the multimedia and advertising.In this regard, the researchers point to the reality of the virtual trend, which also can be understood in reverse -as the folding of the virtual world of architecture" [15, p. 230].
S. Eloy, A. Kreutzberg, and I. Symeonidou explored the aesthetic potential of the virtual environment and the potential of virtual technologies in architectural design [16].The algorithmic design methodology in virtual reality is proposed by R. Castelo-Branco and A. Leitão.They consider an immersive programming technique in which architects can design from a virtual environment, actually being in a building that changes around them [17].

Discussion
Quasi-architecture and its conceptual directions (affective space, electronic baroque, virtual architecture) play an extremely important role in the issues of space.Real, imaginary, and virtual spaces are closely intertwined and interact in the urban environment and create images of the latest architecture.A. Schopenhauer wrote a long time ago that "the world is our idea, a grandiose phantasmagoria, a ghostly veil of images."The unreality and fantasy of purely artistic forms (V.Callebaut, D. Sepulveda, I. Kumar, T. Kim, A. A. Sainz, etc.) from the world of imagination and virtual reality have moved into reality ("The Line", architect T. Main, M. Rotondi, Hidropolis, architect R. Dieterli, Floating City in Busan, architect Bjarke Ingels and others).
In this article, space, which is the central category of quasi-architecture, is considered in three ways: 1) Realspace (affective space), saturated with the dynamics of a set of actions embedded in it, which at the same time is rapidly changing shape and size.
2) The space of the plane (electronic baroque) appears due to the unfolding of the illusory changeable world behind the looking glass on the surface-shell of the architectural form, which loses the materiality that presses it.Interactive media architecture creates a multidimensional spatial structure of the bodily surface.
3) Virtual space (virtual architecture) is a digitally created reality that resembles a fictional imaginary world and reflects physical reality at the same time.Simulacra of virtual architecture and digital space helps to test actions and innovations, maintain relationships with the customer, design based on immersive immersion in the virtual world, organize a three-dimensional work environment, create unique metaverses, etc.

Conclusion
The first decades of the 21st century are characterized by the beginning of the era of panmodernism, which combines the innovative ideas of modernism with a critical attitude to reality and recognition of the uniqueness of the cultural landscape of the place in postmodernism.Panmodernism uses the achievements of the latest technologies and seeks to solve the problems of a social nature, globalization, the ecological crisis, etc.It includes many mainstreams, trends, metaconcepts, and concepts that arise in architects in the subjective understanding of the problems and challenges of our time and accepts the paradigm of a self-developing multidimensional, unrelated by a single narrative of the world.
Quasi-architecture, as a reality of modern times, reflects the shift of the stamp of materiality, heaviness, and static form of an architectural object towards immateriality, weightlessness, and dynamism.Quasi-architecture exists both in real and virtual space.
The concept of "affective space" uses cinematic techniques, seeks to enrich the space with many contradictory and opposite scenarios, and brings down and involves the perceiving subject in a multi-plot composition.It brings the dynamics of perception to its apogee, after which the spatial turbulence is resolved and calmed down (Shopping Center in Frankfurt am Main by architect M. Fuksas; Xi Garden Art Office in Beijing by architect PLAT ASIA; Museum of the Future in Dubai by arch.studio Killa Design, etc.).
The concept of "electronic baroque" is a method of dynamic substitution and transformation of the surface of the shell of an architectural object from the delimiter of internal and external space, into a plane that has its own temporal and informational spacethe media shell.The electronic baroque continues the postmodern tradition of flirting with consumer culture, driven by the development of digital technologies and the growing role of "screen video culture".Multimedia technologies and glass screen surfaces of architecture make it possible to project and reflect various kinds of images, replacing the physical material qualities of the form into phantom images (DR Koncerthuset in Copenhagen by architect Jean Nouvel; Elbphilharmonie in Hamburg by architect studio Herzog & de Meuron; Star Place shopping center in Kaohsiung by architect UNStudio, etc.) The concept of "virtual architecture", being the result of creative research, analyzes and tests the morphological and spatial-functional aspects of the object "generating previously unseen forms of expressiveness."Virtual architecture becomes an experimental object of

Table 3 .
Comparison of the principles of modernism and panmodernism