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.pdfE.S. Dotsenko, N.F. Ugodchikova
Nizhny Novgorod State University of Engineering and Economics
LA RECHERCHE D’INTERACTION ALLÉOPATIQUE LORS DU
CHANGEMENT SUCCESSIF
À présent la question de la transformation anthropique et naturelle de la couverture végétale devient particulièrement actuelle. La décision des problèmes liés à ce sujet non probablement sans l'étude alléopatique des coopérations des plantes. Entre les associations végétales il y a une coopération constante à l'aide de divers liens chimiques. Aux liens chimiques se rapportent de diverses matières organiques - les polyphenols totals.
Les écosystèmes ont la mémoire du passé: leur composition actuelle peut être conditionnée par des événements passés. Des métabolites secondaires libérés par les communautés végétales s’accumulent dans les horizons organiques du sol et peuvent être remobilisés, beaucoup plus tard, après disparition de la communauté les ayant libérées. Ils peuvent alors interagir avec les communautés nouvellement mises en place. Le projet vise à identifier ces métabolites relictuels, à tester s’ils expriment encore un potentiel allélopathique et à les mettre en relation avec les changements d’usage des sols.
Le but – l'étude alléochimique les coopérations en train de la transformation anthropique et naturelle de la couverture végétale.
Les tâches:
-Définir la concentration vestige metabolites et révéler alléopatique le potentiel metabolites;
-Estimer la dépendance des paramètres химико-экологических les stades et les profondeurs de l'horizon du sol;
-Élaborer les recommandations sur la possibilité de l'utilisation alléopatique des coopérations pour la formation des écosystèmes stables.
On travaillait 168 modèles du sol selon la méthode de Makkara selon l'extrait des polyphénols des modèles étudiés. Chaque série des analyses comprenait 24 modèles du sol et 11 éprouvettes de l'échantillon témoin.
La sélection des essais est devenue la première étape du travail pratique. Il était produit des terrains avec l'utilisation contrastant passée et en cours
forêt -forêt, champ-champ, champ-forêt, prairie-prairie, prairie -forêt, prairie -champ, sur le même type du sol – podzolique.
Les résultats des études étaient soumis au traitement statistique.
On définissait le contenu polyphénols total des liaisons dans les sols. Était étudié alléochimique les coopérations en train de la transformation
anthropique et naturelle de la couverture végétale.
D'après les résultats de l'étude, on révélait la baisse du contenu polyphénols des liaisons dans les modèles le champ, puisque cet écosystème est
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exposé à une haute influence anthropique (le labourage de la terre). En rapport avec le malaxage du sol, la concentration des polyphénols diminue et sont distribués régulièrement selon tous les horizons du sol.
D'après les résultats des études le plus haut contenu des polyphénols - dans l'écosystème naturel le forêt, c'est lié ce que les espèces végétales forestières sont средообразующими эдификаторами et c'est pour cela que la coopération la plus intense entre de différents aspects se passe notamment dans le forêt. Les paramètres de l'écosystème – la prairie, sont aussi hauts, mais cèdent un peu à l'écosystème le forêt, c'est lié ce que dans l'horizon du sol А0 se passe moins d'accumulation des fanes et les parties mourant des plantes, que dans le forêt qu'influence considérablement les paramètres.
En vertu des données reçues, les coopérations les plus intenses se passent dans la couche superficielle du sol, dans la mesure du mouvement à la profondeur la concentration des polyphénols tombe, cela s'exprime par ce que dans la couche superficielle se passe plus de coopérations.
Les données selon la concentration des polyphénols en fonction de la profondeur de la sélection des essais montrent que les écosystèmes naturels ont plus de changements brusques en comparaison des artificiels. Dans les écosystèmes artificiels la tendance de la distribution des polyphénols la linéaire. Une haute concentration des polyphénols montre que dans les écosystèmes naturels les coopérations plus tendues entre de différentes espèces végétales, c'est pourquoi les écosystèmes naturels plus stable en comparaison des artificiels.
Selon la concentration des polyphénols on peut révéler les communautés les plus stables, qui pourront enrichir la biovariété existant.
E.V. Kartseva, O.A. Zakharova
Nizhny Novgorod State University of Architecture and Civil Engineering)
FASHION HOUSES IN THE WORKS OF LEADING MODERN
ARCHITECTS
Study of town-planning, typological, artistic-spatial and other aspects of the formation is very important in designing and building Fashion Houses. The research will identify the patterns which could provide an initial basis in designing Fashion Houses because now this type of buildings doesn’t have any regulatory requirements.
The town-planning aspect is one of the main aspects of the formation Fashion Houses. The first Fashion Houses began to appear in the XIX century and they were united by a similar location in the structure of the city. All of them were on the central streets with a widely developed trade function. The
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same holds true today. As a rule, Fashion Houses co-exist with boutiques, restaurants and other places with high social activity. It should also be noted that Fashion Houses mainly located on the building line, form an architectural image of the street, and necessarily have good transport accessibility.
The typological aspect highlights in the formation of the architecture of Fashion Houses. А large number of Fashion Houses typically located in the structure of multi-fuctional buildings. Basically this is a rental of premises in office centers. During the design phase, architects should take into account that all spaces of Fashion House are organized under the main headings: visitors' facilities, storage and office spaces. Also it is recommended to provide museum of fashion and exhibition halls. A trade group is a necessary additional group of premises: shops or special departments for the sale of author's samples of clothes, ornaments and additions to the costume. With regard to large modern foreign Fashion Houses, however, more often their owners are trying to create for themselves a unique structure, the entire volume of which will be assigned to the functions of the Fashion House. Therefore, since the end of the XX century the world known architects create original buildings in the territory of Japan, Hong Kong, the USA, Europe (France, Italy, Germany, Great Britain and other countries). Among them are Christian de Portzamparс, Rem Koolhaas, Zaha Hadid, Frank Gehry, Norman Foster and other famous architects.
In the modern conditions demonstrations of the collections of legendary Fashion Houses go beyond traditional representations and inevitably acquire a multifunctional character. Their shows are always a theatrical performance, a real performance where the models are only part of the general event. Engineers, choreographers, circus performers and figures of cinema engaged in creation of these shows. Every season artistic leaders of Fashion Houses try to create a performance which would fundamentally differ from the previous ones. That's why every brand sets a goal to stand out against the background of competitors. Architecture is a bright symbol used by corporations to broadcast their identity and declare institutional interests.
The fashion house Chanel whose artistic management is carried out by the fashion designer Karl Lagerfeld is widely known even among those who are far from fashion because of the impressive scenery and entertainment scenarios of the show. Karl is the most interested in architects who can realize all his ideas. Chanel cooperates with the firm "Zaha Hadid Architects» [2]. Zaha designed the mobile pavilion Chanel in 2008 which traveled around the world from Tokyo to New York (Pic.1).
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Pic.1. Mobile pavilion Chanel.
Bernard Arnault, president of Louis Vuitton Moët Hennessy, after visiting the Guggenheim Museum in Bilbao understood that he could trust the construction of the Louis Vuitton fund in Paris only one of the greatest architects of the time – Frank Gehry. Their cooperation started in 2014: Gehry designed a spectacular glass building for the Louis Vuitton Foundation and designed the Louis Vuitton boutiques for the presentation of the debut collection of Nicolas Gesquiere and even created a bag in the framework of the project "Icon and icon-bearers» (Pic.2) [3].
Pic.2. Louis Vuitton Foundation.
On the order of Bernard Arnault the French architect-postmodernist Christian de Portzamparс, awarded the prestigious Pritzker Prize, designs the Fashion House Christian Dior in Seoul in 2015 (Pic. 3). Because of the winning corner location the architects managed to demonstrate as much as possible the
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unusual design of the Fashion House based on the imitation of the flower. This concept arose as a tribute to the basic floral theme with which the Fashion House has been working for many years. The grandeur and singularity of the created image allowed to convey the huge contribution of the brand and its impact on the global fashion industry [1].
Pic.3. Fashion House Christian Dior in Seoul.
One of the most striking examples of cooperation of leading architects with Fashion Houses is the long-term collaboration of the Fashion House Prada with Rem Koolhaas. Koolhaas is responsible for almost every Prada show, both male and female. In 2009 he built a boutique transformer in Prada for Seoul and recently completed the Prada Art Center in Milan (Pic. 4). Rem Koolhaas turned the old distillery into a new center of art [4].
Pic.4. Prada Art Center in Milan.
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All large fashion corporations are trying to create in the minds of consumers a unique image that reflects the philosophy of the brand. Retailers attract world-renowned architects to create vivid and memorable images of Fashion Houses. Heads of companies do not spare money for creating nonstandard objects. Expensive materials, complex shapes, unique designs are used in the design. The building ceases to be a building in the classical sense, it becomes a kind of boundary environmental phenomenon. Fashion Houses now are polyfunctional objects with a widely developed public function.
Bibliography
1.Belyj dom: novyj butik Dior v Seule [Elektronnyj resurs]. – Rezhim dostupa : h t t p s : / / w w w . v o g u e . r u / f a s h i o n / n e w s /
belyy_dom_novyy_butik_dior_v_seule/ (data obrashheniya: 31.01.2018).
2.Zaxa Xadid: Peredvizhnoj pavilon Chanel [Elektronnyj resurs]. – Rezhim dostupa: http://artpart.org/zaha-hadid-peredvijnoi-pavilion-chanel/ (data obrashheniya: 31.01.2018).
3.Fond Louis Vuitton v Parizhe [Elektronnyj resurs]. – Rezhim dostupa: https://archi.ru/projects/world/474/fond-louis-vuitton (data obrashheniya: 31.01.2018).
4.Prada Transformer [Elektronnyj resurs]. – Rezhim dostupa: https:// archi.ru/projects/world/5769/prada-transformer (data obrashheniya: 31.01.2018).
A.O. Komkova, E.V. Kartseva
Nizhny Novgorod State University of Architecture and Civil Engineering
ORNAMENTS AND FRACTALS IN MODERN ARCHITECTURE
Ornament is the first form of the fine art and writing at the same time. Ornaments are recurring geometric, plant and abstract patterns which surround us everywhere [6]. They are almost in everything, from little items and cases of cell phones to wallpaper, furniture, flat, clubs, café, shops interiors. This tendency is shown in architecture as a building, at city structureneighborhoods form, villages. Ornament in architecture is not just a fashion, it has been existed for several thousand years. We can state with certainty, that it was born at the beginning of humanity and that’s why it is considered to be one of the ancient form of person’s expression. As a result of the progressive development ornament has become a kind of formula with different known and unknown values which give us deep meaning.
From archaic times, architects from different regions decorated architectural elements of buildings translating the ornaments into stucco works,
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carvings, murals, mosaics, bas-relief keeping architectural style of the building. Architectural ornament beautifies the surface, organizes and systematizes it, paying attention on architectonics of the facilities.
The highest mastery in ornamental art reached eastern architects creating Arabesque. Arabesque (It. Arabesco, Fr. Arabesque- «Arabic»)- it’s a name of European medieval ornament, consisting, basically, of geometric, calligraphy and natural elements which creations are based on the exact mathematical calculations [3].
The principal of endless and territorial progress is the repetition of group of ornamental motives. Arabesque differs with its similar shapes of multiple rhythmic shape according to the repetition and increase of one or more fragments of the ornament, which makes an impression of mixed ornaments.
Arabesque is a fractal. Fractal structures are used a lot in architecture and it came from the past [4]. Fractal is a difficult structure, which signs are:
•Self-similarity (the hierarchical principle of organization)
•Development ability (the principle of continuous form)
•Fraction metric dimension (the principle of singular measure)
•Blurring, woolliness of outlines (the principle of uncertainty of
borders)
•Geometric image of chaotic dynamic (the principle of chaotic dynamic) [1].
For the first time the meaning «Fractal» has imposed Mandelbrot ( from Latin fractus- «shredded, broken, shattered») in 1975. The fractal architecture is divided into intuitive and informed. Fractal in architectural environment is the modern potential, it has unlimited opportunities in development. It can enrich the language of architectural practice [5].
We can match the meanings «Ornament» and «Fractal» as their base are same as compositions of geometric figures. That’s why, it is not surprising that just these architectural elements are the easiest and natural forms and they bring meaning to architecture by pictorial, dynamic and rhythm.
Enhancing decoration and ornament, modern architects don’t produce anything new, but at the same time, they are still in history. And also the veil of ornament adds another layer to the facade of comprehension. This architecture is both new and traditional. There are lots of exclusions from roots, history and family all over the world. We should be in a connection with culture and race in different spheres of the world around us. Surely, it must be shown in building architecture, as it contains the most part of human’s visual perception surrounding us everywhere. We don’t stop in development and urban, also in transformation creating the newest architecture. Considering the ability of fractal and ornaments becomes a synthesis of sensuality (emotional) with the rational beginning, using classic or stylized elements of the past, we virtually keep the «connection thread» of the present and past.
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References
1.Babich V.N., Kremlev A.G. About fractal models in architecture / Ural Federal University named after the First President of Russia BN Yeltsin, 2016
2.Weimarn B.V. "Introduction to the art of the Arab peoples" M., "Art", 1961, 946 p.
3.Zubko GV.Art of the East Course of lectures, 2013.
4.Isaeva V.V. Fractality of natural and architectural forms / V.V. Isaeva, N.V. Kasyanov // Culture. Bulletin of the Far Eastern Branch of the Russian Academy of Sciences, 2006. No. 5. - P.119-127.
5.Mandelbrot B. The Fractal Geometry of Nature / B. Mandelbrot. - M .: In-t Computer Research., 2002. - 856 p.
6.White E., Robertson B. Architecture: forms, structures, details / M. AST Atrell, 2005, 111 p.
E.V. Kartseva E.V, A.V. Nikitina
Nizhny Novgorod State University of Architecture and Civil Engineering
HISTORY OF THE ARCHITECTURE OF THE CITY OF DZERZHINSK, NIZHNY NOVGOROD REGION IN XX - EARLY XXI CENTURIES
Dzerzhinsk is my hometown. According to the Blacksmith Institute, it is one of the most polluted cities in the world, but I'm proud of it and its architecture, its inhabitants, and of course the architects.
Since Soviet times, the city is the largest center of the chemical industry. Behind the scenes, it is called the "Capital of Chemistry".
Of course, the environmental situation in the area is still in poor condition, but there are also reasons for pride.
During the Great Patriotic War, every second bomb was released just in
Dzerzhinsk, in the factory №80 named by Y.M. Sverdlov.. The city sent to the front all kinds of combustible mixtures, shells, explosives and anti-tank mines.
In peacetime, Dzerzhinsk produce chemicals for economic purposes. For the first time in the country, the production of 76 new chemical compounds and substances began, including phenol, acetone, and others. In the 1960s Dzerzhinsk was already the leading scientific center of the country [1].
As an architect, the city impresses me with its town-planning structure, architecture and history! It's amazing how for such a short time from a small village near the station Rastjapino, in a pine forest, among the sand barchans, the city-giant of the Soviet industry, with a number of large factories, naturally grew up.
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The history of architecture in Dzerzhinsk is closely connected with the history of architecture in Russia. The special interest of scientific research is connected with the fact that the city emerged as a new socialist city in the structure of the constellation of socialist cities around Nizhny Novgorod, in the system that developed in the 1920s-1930s of the Gorky agglomeration.
The period of Soviet architecture in 1940-1960's. played an important city-forming role in the history of Dzerzhinsk. For the ensemble construction, the chief architect of the city Alexei Kusakin was awarded the State Prize of the USSR [2]. Every post-war year, residents received from the builders thousands of square meters of housing, new institutions of culture and life.
It was during this period that the historical center of the city of Dzerzhinsk was on the way, four significant squares were finally formed: Dzerzhinsky, Lenin, Mayakovsky and square of Heroes. All of them represent parterre squares with a monument in the central part, they are united by the principle of ensemble.
The five brightest residential quarters appeared in the 50-60s in different parts of the city. In the historical center, houses with Kurdoners, typical for the construction of this period (the avenue Klyukvina 8, 8A, 6, pr-kt Lenin 51.53, pr-cht Chkalov 14,16,18) became widespread [3].
Pic. 1. The avenue Klyukvina 8
Residential quarter at the intersection of the street. Zhukovsky, Pr-ta Dzerzhinsky, Lenin and Platz Dzerzhinsky forms the central square of the city and has a non-uniform, step-by-step character.
Residential buildings of small storeys were built on the periphery of the city (Lenin Ave. 25-37)
The planning structure of residential quarters is 3-5 sectional houses with full-size 2-3-4 room apartments.
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Public buildings of 1950-60's. played a dominant role, formed the ceremonial appearance of the city. Having studied five brightest examples, different in typology:
-Establishment of professional education (Ave Chemico-Mechanical
College)
-entertainment and leisure-entertainment establishments (DKH avenue, Dram Theater in the park, Cinema "Rodina")
-companies of trade (Ave TsUM, now Chamber of Commerce and Industry)
Pic. 2. DKH avenue
You can see that they are united by a location in the city structure. All of them are located in the historic center of the city - at the intersection of the iconic streets and in the city park.
According to the style of the building, the buildings belong to the neoclassical Soviet order style (DKH, Drama Theater in the Park, Chemical and Mechanical College, Rodina) and to the Soviet Empire, whose distinguishing features are five-pointed stars, torches, wreaths of fame, garlands, vases and shields [4].
Summarizing the above, we can conclude that residential and public buildings played an almost equal role.
References
1. Kornilov, A. Architecture of Dzerzhinsk [Electronic resource] / A. Kornilov - Access mode:
https://www.drive2.ru/b/1932345.
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