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Russian Journal of Building Construction and Architecture

The stress curves show that considering the friction coefficient f significantly reduces the value of the maximum von Mises stresses in the shell (from σe = 25.5 MPa to σe = 16.1 MPa) as the shell starts operating in conjunction with the surrounding base and some of the loads are transferred to the foundation. The nature of the stress curve remains the same.

Pa

Fig. 8. Maximum von Mises stresses in the outer fibers of the first shell ring for the models with and without taking into account the friction coefficient f

Conclusions. A comparative analysis of the stress-strain of the shell and the surrounding base is performed with and without taking into account the change in the calculation model over time using the finite element method. The results suggest that considering the stages of shell construction significantly affects the stress-strain of the shell and the surrounding base. Given the results obtained from the six design cases, it is recommended that eight or more design stages of the shell construction are taken in practical calculations. However, it should be borne in mind that at the eight design stages in the first and last shell rings, the maximum equivalent stresses will be somewhat lower and higher, respectively.

The calculation model is also analyzed considering the coefficient of friction between the shell and the surrounding base. The calculation results showed that taking into account the friction coefficient significantly reduces the value of the maximum von Mises stresses in the shell. That is due to the fact that the shell starts operating in conjunction with the surrounding base and part of the loads is transferred to the foundation.

References

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2.Basov K. A. ANSYS: Spravochnik pol'zovatelya [ANSYS: user Guide]. Moscow, DMK Press Publ., 2005. 640 p.

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3.Gabbasov R. F. K raschetu gibkikh trub na sovmestnoe deistvie vneshnei nagruzki i vnutrennego davleniya s uchetom otpora grunta [To calculation of flexible pipes on joint action of external loading and internal pressure taking into account soil resistance]. Gidrotekhnicheskoe stroitel'stvo, 1970, no. 10, p. 17.

4.Klein G. K. Raschet podzemnykh truboprovodov [Calculation of underground pipelines]. Moscow, Izdatel'stvo literatury po stroitel'stvu, 1969. 240 p.

5.Kositsyn S. B., Dolotkazin D. B. Raschet sterzhnevykh sistem, vzaimodeistvuyushchikh s uprugim osnovaniem, metodom konechnykh elementov s ispol'zovaniem programmnogo kompleksa MSC/NASTRAN FOR WINDOWS [Calculation of rod systems interacting with elastic base by finite element method using MSC/NASTRAN for WINDOWS software package]. Moscow, MIIT Publ., 2004. 116 p.

6.Leont'ev N. N. [Practical method of calculation of thin-walled cylindrical pipe on elastic base]. Trudy Moskovskogo inzhenerno-stroitel'nogo instituta [Proc.of theMoscowInstituteofcivilengineering].Moscow,1957,vol.27.69p.

7.Morozov E. M., Muizemnek A. Yu., Shadskii A. S. ANSYS v rukakh inzhenera: Mekhanika razrusheniya. 2-e izd., ispr. [ANSYS in the hands of an engineer: the Mechanics of destruction. 2nd ed., corrected]. Moscow, LENAND Publ., 2010. 456 p.

8.Chigarev A. V., Kravchuk A. S., Smalyuk A. F. ANSYS dlya inzhenerov [ANSYS for engineers]. Moscow, Mashinostroenie-1 Publ., 2004. 512 p.

9.Shagivaleev K. F. Raschet zamknutoi tsilindricheskoi obolochki, zapolnennoi sypuchim materialom, na radial'nuyu nagruzku [Calculation of closed cylindrical shell filled with bulk material on radial load]. Izvestiya vuzov. Stroitel'stvo, 2003, no. 2, pp. 20––23.

10.Shaposhnikov N. N. [Calculation of circular tunnel linings on an elastic base characterized by two coefficients]. Nauchnye trudy Moskovskogo instituta inzhenerov zheleznodorozhnogo transporta [Scientific works of the Moscow Institute of railway transport engineers], 1961, vol. 131, pp. 296––305.

11.Ahmad S., Irons B. M., Zienkiewicz O. C. Analysis of Thick and Thin Shell Structures by Curved Finite Elements. International Journal for Numerical Methods in Engineering, 1970, vol. 2, no. 3, pp. 419—451.

12.Altaee A., Fellenius B. H. Finite element modeling of lateral pipeline-soil interaction. 14th International Conference on Offshore Mechanics and Arctic Engineering. OMAE 96. Florence, 1996.

13.Ando V., Yagawa G., Kikuchi F. Stress distributions in thinwalled intersecting cylindrical shells subjected to internal pressure and inplane force. Proc. 1 st Int. conf. react. technology. Berlin, vol. 3, pp. 1—13.

14.Belytschko Т., Liu W. K., Moran B. Nonlinear finite elements for continua and structures. John Wiley & Sons Ltd, 2000. 667 pp.

15.Gallagher R. H. Finite Element Analysis. Fundamentals. Prentice-Hall, Englewood Cliffs, N. J., 1975. 416 p.

16.Gantayat A. N., Powell G. H. Finite element analysis of thin and thic walled tubular joints. Nucl. Eng. Des., 1978, pp. 381—394.

17.Love A. E. H. A. Treatise on the Mathematocal Theory of Elasticity. V. II. Cambridge, 1893. 327 p.

18.Mair R. J., Gunn M. J., O’Reilly M. P. Ground movements around shallow tunnels in soft clay. Proc. 10-th ICSMFE. Rotterdam, Balkema, 1981, vol. l. 245 p.

18.О'Reilly M. P., New B. Settlement above tunnels in the United Kingdom — their magnitude and prediction. Proc. Int. Symposium Tunnelling — 82. London, Institution of Mining and Metallurgy, 1982, pp. 173—181.

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Russian Journal of Building Construction and Architecture

ARCHITECTURE OF BUILDINGS AND STRUCTURES.

CREATIVE CONCEPTIONS OF ARCHITECTURAL ACTIVITY

DOI10.25987/VSTU.2019.44.4.008

UDC7.036 : 747.012 : 72.036

L. V. Podolskaya 1

DEVELOPMENT SCENARIOUS OF ARTISTIC INTERIOR DESIGN

IN THE HISTORICAL PERSPECTIVE. AN INDIVIDUAL APPROACH TO DESIGN

Architectural Bureau DE-CITY 1

Russia, Moscow

1 Design and Equipment Artist, e-mail: ecodorvrn@mail.ru, aurora09.72@mail.ru

Statement of the problem. The manifestation of an individual and integrated approach to the design of the living environment of a person in the historic context and in the contemporary world is considered. Results and conclusions. Using the example of the comparison of the Hal-Saflieni complex, the Palais Bulles villa (architect Antti Lovaga) and the S. Ryabushinsky mansion (architect F. Shechtel), the interconnection and interrelations of the interior and architectural composition in its modern sense, external and internal spaces are analyzed. The interior is regarded as a reflection of the prevalent concept of world order, an individual’s self-identification in society –– either by maxim mimicry or by creating their own special world through which the subject expresses their attitude to the world and place in it. The conclusion is drawn on the need to distinguish between the concepts of "artistic design of interiors", "decor of interiors" and "interior design".

Keywords: interior, Hal-Saflieni, composition design, verbal communication, interior without an external shell, design, modern, interior art design, interior design, interior history, F. Schechtel.

The entire history of architecture indicates how housing was proceeded by public construction, not the other way around.

А. К. Burov “On Architecture”(1960)

Introduction. The problem of creating a modern interior design involves two stages of perception, i. e. the one for life and for camera. There is both real and virtual life running in parallel to one another. Modern interiors are mostly designed without taking into account and taking the time to comprehend the image, the message and the city addressed primarily to the audience and participants.

© Podolskaya L. V., 2019

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Since any customer is both an object and a subject placed in a certain space, the interior is also the internal surface of architecture. Almost its internal organs and backbone and at the same time the external shell of a certain volume (e. g., in apartment buildings) filled with individual elements and entire complexes of furniture and decoration details.

1. The interior as an inner shell of architecture. The concept of "interior" is inextricably connected to that of "architecture". There is hardly anyone who can argue with this as without a base there can be no filling, without a shell there is no internal space. However, there are exceptions with the most famous of which perhaps being Hal Saflieni [6] which is an underground monument of history and architecture located in Malta, one of the oldest ones known to date (Fig. 1).

Fig. 1. Museum façade. Maltа, 2015. Photo by the author

Underground caves cannot be found outside. They were accidentally found in the early twentieth century during the reconstruction of one of the old buildings when a worker simply fell into the underground space. A more detailed study revealed human bones, incredibly distant from us in time and a huge number of tunnels that go deep underground (Fig. 2). They are not fully understood, however, what appears before the eyes is enough to make us aware of the illusory nature of our ideas about space, time and our place as objects and subjects in this spatial intersection of dimensions. Rounded walls with arches, endless stairways and vaulted ceilings, unique acoustic effects are all interiors without an exterior, i. e., without an external building envelope that could be referred to as architecture [2].

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Russian Journal of Building Construction and Architecture

Fig. 2. Scheme of the underground cathedral Hal Saflieni (photos are forbidden)

Architecture is the art of designing buildings and structures. Lyrical digressions about “frozen music and harmonious combination of parts into a whole” can be neglected as, more importantly, it is the construction of a new of separate volumetric parts, design, “creation” [1] of a composition of externally expressive volumes. In this case, as was often the case throughout the history of the development of architecture, the inner space could be very different from the outer one and was occasionally its continuation. An example is ancient temples: observing the rhythmic step of the columns encircling the main parallelepiped, it is not always possible to predict the inner space hidden behind a blank wall.

Similarly, Gothic architecture, which is “inflamed” with towers and portal perspectives outside covered with box roofs, from the inside appears a sprouted backbone of arches strained in ribs attempting to hold the entire external structure together [16].

In this context, Hal Saflieni is an absolutely interior monument showing a barely perceptible line between the big and the small, between the atom and the universe, between the whole and the private, the reflection of the whole world in one drop. Biting into the dense rock, breaking through the tunnels, an ancient man shaped their world where they built their lives according to their own laws in absolute silence, without angles, without enclosed spaces and without light (Fig. 3). Until now, there is no consensus as to whether this is a sanctuary, a temple of the mother ancestress, the place of ritual sacrifices or a hospital. Or all of the above combined into one chain of spaces flowing into each other, formed at different levels with arbitrary slopes, of different heights and volumes, while with astounding knowledge and expertise in sound propagation, i. e., verbal communication (words spoken in one room wander all around, regardless of the number of floors) [5].

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Fig. 3. Interior of the underground cathedral Hal Saflieni (photos are forbidden)

The volume of the premises, which are similar to cheese holes, is interconnected by the elastic strands of the stairs, some of which break off to "nowhere". One can imagine that ancient people strove to surround themselves with a necessary amount of air that would fill a certain form of a room devoid of corners. The roundness of the inner space is dissected mimic cornices which seem to transmit the load from the compressive mass of rocky soil (Fig. 4).

Fig. 4. Interior of the underground cathedral Hal Saflieni (photos are forbidden)

To put it differently, Gipogey, or Hal-Saflieni, is an interior monument with no external shell, no architecture in its modern sense. It clearly reveals the dominant position of the internal space over the external one, the interior over the architectural composition (it simply does not exist as a physical concept).

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Russian Journal of Building Construction and Architecture

It was not until the end of the 19th century which marked the beginning of the modern era that the European civilization grew aware of the emergence of the image of buildings “from the inside out” [11]. This is the era associated with a number of technical innovations on the one hand and the "sinusoid of the image" on the other when there was a crying need to indicate the transition into a new stage of civilization by means of technical innovations, which gave rise to capitalism and a new powerful social class.

The formation of the building from “inside out” enables one to identify its construction by means of the latest material at the time (reinforced concrete) in the modern era which is incredibly complex, fluid, whimsical. This, in turn, enables one to visualize an intangible significance of style as a reflection of new social conditions, i.e., the birth of super-rich not burdened by family lineage and thus “easy on the uptake” when it comes to art and architecture, a newly emerging class of people. Interior becomes the basis of the architectural composition which is an inner shell whose phantom shroud is clearly indicative of the structure of the building as its backbone. Using a system of lowered arches and columns supporting them that “swam away from pies” with seemingly disproportionate ratios of powerful capitals and swollen trunks, we see a “muscle tension”, a system of load distribution indoors and their relationships with the facades. Interior elements that are inextricably “moulded” into it, staircases that grow like tree trunks and link floorsbranches, built-in furniture, lamps, fireplaces –– these are all important “internal organs” of the interior, that, once removed, will make a blood flow stop causing the connection between the floors to disappear, the heart-shaped fireplace to go out and the lamp eyes to close.

2. The interior as an outer shell. Simultaneously, considering interior as part of architecture, it is not possible to neglect the situation when interior decoration would be the only crucial factor in shaping the living environment.

Fig. 5. Palais Bulles, architect Antti Lovag. Source: https://www.palaisbulles.com

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An example is the Villa Palais Bulles of Pierre Cardin where the interior is an absolute reflection of the external structure which seems to swell above the surface of the earth revealing the features of the structure and forming an image through a composition of absolutely interior solutions (Fig. 5, 6).

Fig. 6. Palais Bulles. Photo by Christie's International Real Estate

Oddly enough, the absence of angles and a distinguishable formula for a combination of loadbearing and heavy elements implicitly bring us back to the above spaces of the Hal-Saflieni complex, but at a whole different level. If in the first case the person inside was the subject “pressed” by the surrounding rocks and in search of protection he literally tore up the air (Fig. 7), at the Palais Bulles villa the person acts as an object deliberately conquering the world around them with their “bubble” of views and perspectives (Fig. 8). They act as an actor, “squeezing out” their worldview through interior solutions to the outside leaving a trail of “worlds” behind them as they move.

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Russian Journal of Building Construction and Architecture

In this case, the interior also forms the facades of the building effectively becoming its outer shell and turning into a category of architectural solutions. This is that very thin weightless line that appeared as late as in the twentieth century –– the architecture was no more, only the design remained. The most important constants related to the parallel existence of the external and internal worlds disappeared, the movement "from inside to outside", from interiors to facades, was absolutized and merged into a single image. There was no longer a need to display architectural details as separate decorative elements or form large-scale chains of elements as everything has become a single expressive element, and the more it tends to simple forms, the more comprehensible it becomes.

The curved surface of the bubble is a wall that merges with the ceiling, and an outer wall that passes into the roof with no border between them but only an image of a sphere with the master of the world in the center of it. Everything revolves around him and a kaleidoscope of things built into this interior can be exclusively individual, solely designed for a specific object that has built this world for itself alone. The climax of self-centeredness “Without me there is no peace as I have it all inside me, I see this dream that I can wake up from any moment –– or change it, or destroy it.” The interior thus becomes a physical reflection of the inner world.

3. The interior as a living environment and a way of self-identification of the owner. Interior art is first of all the art of psychology and only then the ability to translate logical conclusions and verbal images into plastic of structural elements and decor that fill the interior of an architectural structure. The arrangement of both private and public interiors is always a reflection of the prevailing concept of the world order, the self-determination of a person within society in relation to other similar individuals. It is commonly expressed in two ways: either by maximum mimicry under society, or by rebellion which runs counter to the generally accepted norms and rules creating its own special individual world through which the figure (object) expresses their attitude to the outside world and their place in it.

A striking example is the S. Ryabushinsky mansion built by architect F. Shechtel in Moscow in 1900 [11] (Fig. 9).

A beautiful date for the beginning of something new, a beautiful introduction of Moscow Art Nouveau to its heyday. The brightest crystallization of its distinctive features coincided in time with the final formation of the class of “new rich Russians” of the first wave, i. e., third-generation merchants who were no longer so concerned with survival, accumulation and accumulation of wealth that were part of the already formed class of capitalists who were in need of self-identification through intangible assets.

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Fig. 9. S. Ryabushinsky mansion, architect F. Schechtel

Art Nouveau went through “childhood growth sickness” through neostyles processing Gothic, Egypt, the Renaissance the way a beautiful woman looks through images for the evening out deciding on what she wants to be today. Hence, there are all these fabulous interiors inside sometimes quite classic buildings. The search for oneself resulted in a pure vital stream pursuing development, unwinding of the endless spiral of life as well as its transformation. Just as

Fig. 10. Frieze window and part of the frieze of the S. Ryabushinsky mansion, architect F. Schechtel. Photo by the author

trees bloom leaves in spring followed by flowers, and in autumn they bend under the weight of fruits, so Art Nouveau develops continuously clinging to individual details, bends, but it

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